The text is unabridged, with original spelling and extensive, easy-to-use marginal glosses and footnotes.
No other edition accurately represents the actual (and likely authorial) divisions of the text as attested to by its two surviving witnesses—Caxton’s 1485 print and, especially, the famous Winchester Manuscript. The Winchester Manuscript is now generally agreed to be the more authentic of the two earlier texts. The Norton Critical Edition is the first edition of Malory to recover important elements of this manuscript: paragraphing marginal annotations hierarchies of narrative division as signaled by size and decorative intricacy of initial capitals and font changes The Norton Critical Edition also represents, in black-letter font, the striking rubrication of proper names in the Winchester Manuscript, reconstructing for readers something of an authentic medieval reading experience, one which gives visual support to Malory’s extraordinary representation, in character and setting, of a chivalric ideal. No other student edition of Malory contains such extensive contextual and critical support. |
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Stephen H. A. Shepherd is Associate Professor of English at Loyola Marymount University. His honors include fellowships to the Huntington Library and the Bibliographical Society of America. He is the editor of the Middle-English Pseudo-Turpin Chronicle and of the Norton Critical Edition of Middle English Romances and coeditor of the Norton Critical Edition of Piers Plowman.
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79 of 80 people found the following review helpful
By Jim Allan
Format:Paperback
The Norton Critical Edition of Sir Thomas Malory's Le Morte Darthur edited by Stephen H. A. Shepherd partly replaces Eugène Vinaver's The Works of Sir Thomas Malory and is in many ways a better effort.
This edition stands somewhere between a scholarly, critical edition and a popular edition. It is based mainly on the Winchester manucript with emendations and additions from Caxton's 14th century printed version. Abbreviations are expanded, major (but not minor) corrections of the text are noted, the obsolete characters thorn and yogh are replaced by modern letters, use of u and v, i and j follow modern usage. and word division, punctuation, and capitalization also edited to follow modern conventions, including use of quotation marks.
But otherwise spelling is not modernized, large capitals in the manuscript are indicated in the printed text by lombardic capitals of approximately the same relative size, paragraphing is mostly followed exactly (with even the // paragraph break marks being rendered by indentation followed by the symbol ¶) and further paragraphing without ¶ where other punctuation or capitalization anomalies indicate sectioning. Vinaver's edition became, eventually, notorious for ignoring the divisions given within the manuscript itself, an especially unfortunate defect since Vinaver's theories about Malory's composition supposedly depended on paying especially close attention to such matters.
In the mansucript, rubricating (that is, red lettering) was employed in scribing almost all personal names as well as on some other names and in marginal notes and is here represented by a black-letter font. One quickly becomes used to this odd convention which actually eases and clarifies reading to the point that one wonders why something like it should not be universally adopted.
And, most pleasantly for a modern book, the notes appear as true footnotes, not endnotes, which means no constant turning of pages.
The text itself is followed by over 200 pages of related source material and reprinted essays, followed by a glossary, a selected guide to proper names, and a bibliography, but, rather oddly, no index.
For any general reader willing to encounter fifteenth century spelling on its own terms and to delight in it, this is probably the best edition to own and use, one which brings the user closer to the Winchester manuscript than any previous edition.
As to the tale itself, Malory himself sometimes seems bored and unitenested in his material, especially in the massive maze of subsidiary episodes that make up his Tristram material. But at his best there is no writer in English who campares with him. Readers having difficulty with the early sections of any edition of Malory's Le Morte Darthur might try jumping to "The Tale of Sir Launcelot and Quene Gwenyvere" (Book XVIII in Caxton's edition) and start at that point, where a mature Malory in control of this story tells it better than anyone before or after.
This edition stands somewhere between a scholarly, critical edition and a popular edition. It is based mainly on the Winchester manucript with emendations and additions from Caxton's 14th century printed version. Abbreviations are expanded, major (but not minor) corrections of the text are noted, the obsolete characters thorn and yogh are replaced by modern letters, use of u and v, i and j follow modern usage. and word division, punctuation, and capitalization also edited to follow modern conventions, including use of quotation marks.
But otherwise spelling is not modernized, large capitals in the manuscript are indicated in the printed text by lombardic capitals of approximately the same relative size, paragraphing is mostly followed exactly (with even the // paragraph break marks being rendered by indentation followed by the symbol ¶) and further paragraphing without ¶ where other punctuation or capitalization anomalies indicate sectioning. Vinaver's edition became, eventually, notorious for ignoring the divisions given within the manuscript itself, an especially unfortunate defect since Vinaver's theories about Malory's composition supposedly depended on paying especially close attention to such matters.
In the mansucript, rubricating (that is, red lettering) was employed in scribing almost all personal names as well as on some other names and in marginal notes and is here represented by a black-letter font. One quickly becomes used to this odd convention which actually eases and clarifies reading to the point that one wonders why something like it should not be universally adopted.
And, most pleasantly for a modern book, the notes appear as true footnotes, not endnotes, which means no constant turning of pages.
The text itself is followed by over 200 pages of related source material and reprinted essays, followed by a glossary, a selected guide to proper names, and a bibliography, but, rather oddly, no index.
For any general reader willing to encounter fifteenth century spelling on its own terms and to delight in it, this is probably the best edition to own and use, one which brings the user closer to the Winchester manuscript than any previous edition.
As to the tale itself, Malory himself sometimes seems bored and unitenested in his material, especially in the massive maze of subsidiary episodes that make up his Tristram material. But at his best there is no writer in English who campares with him. Readers having difficulty with the early sections of any edition of Malory's Le Morte Darthur might try jumping to "The Tale of Sir Launcelot and Quene Gwenyvere" (Book XVIII in Caxton's edition) and start at that point, where a mature Malory in control of this story tells it better than anyone before or after.
15 of 15 people found the following review helpful
5.0 out of 5 stars
Ian Myles Slater on: A Worthwhile Edition (Well, Perhaps Not For All Readers)
July 3, 2012
Format:Paperback|Amazon Verified Purchase
A reviewer can propose, but only Amazon disposes.
Way back in 2004, I was unable to review the then-new Norton Critical Edition of "Le Morte Darthur" (Winchester MS version -- see below) because I had already posted a review of the Penguin English Library/Penguin Classics edition (Caxton's text).
In the end, I wound up discussing Shepherd's treatment in a review of the Oxford Standard Authors edition, edited by Eugene Vinaver under the idiosyncratic title of "Malory: Complete Works."
Now that the NCE (Norton Critical Edition) has its own page, I've decided to slightly modify that combined review, and post it where I originally wanted it to go.
This is mainly a review of two old-spelling complete editions of the work commonly known as "Le Morte D'Arthur" (Anglo-Norman French for "The Death of [King] Arthur}), both available in paperback. The language they are in can be called either very late Middle English, or very early Modern English; other, easier-to-read, editions will also be mentioned below.
For those who are already familiar with the "Morte" from modernized-spelling popular editions, and the existence of two sources for a "definitive" text, and are looking for a more scholarly, but affordable, edition, here is the short view of the situation:
The sole choice used to be Eugene Vinaver's "Malory: Complete Works," in the Oxford Standard Authors series (from Oxford University Press; the title will be explained shortly). Available since 1971, it is in (rather small) plain type, with no special features on the page except some marginal notations, and the occasional footnote.
S.H.A. Shepherd's Norton Critical Edition, from 2004, with the cover title of "Le Morte Darthur," has a text with a striking visual difference from the usual modern book; following the lead of the manuscript, proper names appear in a bold "black letter" font (instead of red ink -- see below). This may be intimidating at first glance, and some may hastily conclude it is too difficult to read. However, one can adjust quite quickly and I have found the basic text, in Fairfield Modern, easier on the eyes than the Oxford version. (I would have welcomed it a couple of decades ago, when I was reading the Oxford edition cover-to-cover while waiting around on jury duty.)
The following is aimed partly at those unfamiliar with the situation -- my apologies to those who find themselves plowing through the obvious.
Until a mis-catalogued fifteenth-century manuscript in a safe at Winchester College was finally recognized in 1934 as Sir Thomas Malory's account of King Arthur and his knights, the only authoritative text of this now-famous work was that found in the two surviving copies of William Caxton's 1485 printing. Unhappily, its first and last pages are missing, so Caxton remains the source for those passages. (The standard exact, or "diplomatic," text of Caxton's Malory was edited by H. Oskar Sommers, 1889-1891. There is a recent critical text, edited by James Spisak, 1983, and a facsimile edition, edited by Paul Needham, 1976.) There are thousands of minor differences, and a few very large ones.
Caxton had divided the text into twenty-one books, with numbered and (usually) titled chapters, and called the whole "Le Morte D'Arthur" -- "Notwithstanding that it treateth of the birth, life, and acts of the said King Arthur, of his noble knights of the Round Table, their marvelous enquests and adventures, the achieving of the Sangrail, and in the end the dolorous death and departing out of this world of them all" (Caxton's Colophon). He had also dramatically abridged one long section (his Book Five), and seems to have made some changes of his own in wording, at times softening Malory's aristocratic bluntness.
When Eugene Vinaver edited the Winchester Manuscript for the Oxford English Texts series, he gave the three-volume set (with critical notes, glossary, etc.) the title of "The Works of Sir Thomas Malory" (1947; revised edition, 1967; third edition, re-edited by P.J.C. Field, 1990).
In Vinaver's eyes, the manuscript revealed that Malory had produced only a very loosely connected set of narratives, distinct "WORKS" to which he, as editor, gave his own titles (which are now in current use, despite the lack of any other authority for some).
The idea that it was a single, continuous, narrative was, in this view, Caxton's; hence the many inconsistencies, such as dead villains showing up alive and still wicked after a few "books." This reversed the view of others who, noting the lack of unity in other publications by Caxton, had attributed the difference entirely to Malory.
This decision has given rise to a long critical controversy; Malory was, in Caxton's term, "reducing" some disparate French texts into English, and may have just missed some discrepancies, as he tried to produce a reasonably unified "whole book". It has also created a certain amount of bibliographic confusion.
Keith Baines' "Rendition in Modern English" of Vinaver's edition (1962; a rewriting, covering every incident, but mostly sacrificing the language) is carefully called "Malory's Le Morte D'Arthur: King Arthur and the Legends of the Round Table," as if to emphasize that Caxton's "interference" is being removed, without sacrificing reader recognition (and sales). Vinaver's later Oxford Standard Authors one-volume original-spelling text edition (1971), however, is "Malory: Complete Works."
Vinaver also edited for Oxford University Press a modernized-spelling "King Arthur and His Knights: Selected Tales by Sir Thomas Malory" (1956, 1968, 1975), which maintained the same premise. John Steinbeck, a great admirer of Malory, was delighted by Vinaver's edition, and referenced the Winchester Manuscript in the subtitle of his unfinished "Acts of King Arthur ...," avoiding the "Morte" designation. (This is in fact an Arthurian novel by Steinbeck, incorporating chunks of source material, *not* a modernization.) Thus far, there is a certain amount of consistency.
However, a more recent Oxford edition, Helen Cooper's modernized spelling edition of the Winchester text for The Oxford World's Classics (1998; abridged, unfortunately; otherwise excellent), is instead titled "Le Morte D'Arthur." So, too, is the medievalist R.M. Lumiansky's much more extensively modernized 1982 complete version of the Winchester text. (Almost a translation, and thus an implied commentary on the text; but not to be confused with Lumiansky's projected, and unpublished, critical edition, almost complete at the time of his death in 1987. But is quite impressive, and I can understand anyone who thinks I am too critical of it.)
The title of the facsimile edition for the Early English Text Society (N.R. Ker, 1976) "The Winchester Malory," avoided the issue, but the volume also helped renew the debate over Vinaver's theory by eliminating his editorial hand, revealing that some of the textual divisions were NOT Caxton's work, but that of either a scribe or the author.
Stephen H. A. Shepherd's Norton Critical Edition is "Le Morte DArthur" on the cover, but on the title page has the Caxton-derived subtitle of "The Hoole Book of Kyng Arthur and of His Noble Knyghtes of The Rounde Table." This title may well go back to Malory, or least to the manuscripts; it would have appeared on the missing final pages. Shepherd, indeed, gives considerably more weight to Caxton's evidence than had become customary. It has become clear, from printer's marks, that the Winchester Manuscript was in fact available to Caxton, and was still on hand when his successor, Wynkyn de Worde, reset the "Morte" in 1498, introducing some of its readings.
This fact suggests that Caxton was comparing at least two full-length manuscripts, and that some of his "innovations" may reflect Malory's intentions as much as any other scribal copy.
The one-volume Oxford "Malory: Complete Works" is a rather bare-bones edition (especially compared to its three-volume prototype), consisting almost entirely of a very lightly "normalized" text (abbreviations are silently expanded, but variant spellings are usually preserved, etc.), with some good textual notes and a glossary (about a hundred pages of "apparatus").
In the Norton Critical Edition, Shepherd offers the reader an extended Introduction, Chronologies, a text with explanatory footnotes, a large section of "Sources" (earlier and / or alternative versions of Arthurian stories, many translated by Shepherd) and "Backgrounds" (contemporary medieval documents and modern histories illustrating Malory's times) and "Criticism" (essays and book excerpts), followed by a thirty-two-page double-column Glossary, a "Selected Guide to Proper Names," and a Selected Bibliography. He has a helpful section on Malory's language, covering not only grammatical differences from Modern English, but how it was pronounced (with encouragement to try reading it aloud, noting that Malory seems to have been a dangerously glib speaker.)
(Originally, there was also a website for the book, accessible through W.W. Norton's main page; among other useful features, it reported printing errors, and later announced that the corrections of those identified had been made in the second printing.)
Shepherd's text itself includes more of Caxton's readings, which seem to reflect another manuscript with different errors; and *manuscript* is the crucial word. Unlike Vinaver, who attempted to reproduce what he regarded as Malory's intended structure (or non-structure), Shepherd aims to create the impression of reading a medieval manuscript, without the most difficult obstacles. Not only are original spellings preserved, he carefully includes marginal notes and other indicators of scribal practices. Read more ›
Way back in 2004, I was unable to review the then-new Norton Critical Edition of "Le Morte Darthur" (Winchester MS version -- see below) because I had already posted a review of the Penguin English Library/Penguin Classics edition (Caxton's text).
In the end, I wound up discussing Shepherd's treatment in a review of the Oxford Standard Authors edition, edited by Eugene Vinaver under the idiosyncratic title of "Malory: Complete Works."
Now that the NCE (Norton Critical Edition) has its own page, I've decided to slightly modify that combined review, and post it where I originally wanted it to go.
This is mainly a review of two old-spelling complete editions of the work commonly known as "Le Morte D'Arthur" (Anglo-Norman French for "The Death of [King] Arthur}), both available in paperback. The language they are in can be called either very late Middle English, or very early Modern English; other, easier-to-read, editions will also be mentioned below.
For those who are already familiar with the "Morte" from modernized-spelling popular editions, and the existence of two sources for a "definitive" text, and are looking for a more scholarly, but affordable, edition, here is the short view of the situation:
The sole choice used to be Eugene Vinaver's "Malory: Complete Works," in the Oxford Standard Authors series (from Oxford University Press; the title will be explained shortly). Available since 1971, it is in (rather small) plain type, with no special features on the page except some marginal notations, and the occasional footnote.
S.H.A. Shepherd's Norton Critical Edition, from 2004, with the cover title of "Le Morte Darthur," has a text with a striking visual difference from the usual modern book; following the lead of the manuscript, proper names appear in a bold "black letter" font (instead of red ink -- see below). This may be intimidating at first glance, and some may hastily conclude it is too difficult to read. However, one can adjust quite quickly and I have found the basic text, in Fairfield Modern, easier on the eyes than the Oxford version. (I would have welcomed it a couple of decades ago, when I was reading the Oxford edition cover-to-cover while waiting around on jury duty.)
The following is aimed partly at those unfamiliar with the situation -- my apologies to those who find themselves plowing through the obvious.
Until a mis-catalogued fifteenth-century manuscript in a safe at Winchester College was finally recognized in 1934 as Sir Thomas Malory's account of King Arthur and his knights, the only authoritative text of this now-famous work was that found in the two surviving copies of William Caxton's 1485 printing. Unhappily, its first and last pages are missing, so Caxton remains the source for those passages. (The standard exact, or "diplomatic," text of Caxton's Malory was edited by H. Oskar Sommers, 1889-1891. There is a recent critical text, edited by James Spisak, 1983, and a facsimile edition, edited by Paul Needham, 1976.) There are thousands of minor differences, and a few very large ones.
Caxton had divided the text into twenty-one books, with numbered and (usually) titled chapters, and called the whole "Le Morte D'Arthur" -- "Notwithstanding that it treateth of the birth, life, and acts of the said King Arthur, of his noble knights of the Round Table, their marvelous enquests and adventures, the achieving of the Sangrail, and in the end the dolorous death and departing out of this world of them all" (Caxton's Colophon). He had also dramatically abridged one long section (his Book Five), and seems to have made some changes of his own in wording, at times softening Malory's aristocratic bluntness.
When Eugene Vinaver edited the Winchester Manuscript for the Oxford English Texts series, he gave the three-volume set (with critical notes, glossary, etc.) the title of "The Works of Sir Thomas Malory" (1947; revised edition, 1967; third edition, re-edited by P.J.C. Field, 1990).
In Vinaver's eyes, the manuscript revealed that Malory had produced only a very loosely connected set of narratives, distinct "WORKS" to which he, as editor, gave his own titles (which are now in current use, despite the lack of any other authority for some).
The idea that it was a single, continuous, narrative was, in this view, Caxton's; hence the many inconsistencies, such as dead villains showing up alive and still wicked after a few "books." This reversed the view of others who, noting the lack of unity in other publications by Caxton, had attributed the difference entirely to Malory.
This decision has given rise to a long critical controversy; Malory was, in Caxton's term, "reducing" some disparate French texts into English, and may have just missed some discrepancies, as he tried to produce a reasonably unified "whole book". It has also created a certain amount of bibliographic confusion.
Keith Baines' "Rendition in Modern English" of Vinaver's edition (1962; a rewriting, covering every incident, but mostly sacrificing the language) is carefully called "Malory's Le Morte D'Arthur: King Arthur and the Legends of the Round Table," as if to emphasize that Caxton's "interference" is being removed, without sacrificing reader recognition (and sales). Vinaver's later Oxford Standard Authors one-volume original-spelling text edition (1971), however, is "Malory: Complete Works."
Vinaver also edited for Oxford University Press a modernized-spelling "King Arthur and His Knights: Selected Tales by Sir Thomas Malory" (1956, 1968, 1975), which maintained the same premise. John Steinbeck, a great admirer of Malory, was delighted by Vinaver's edition, and referenced the Winchester Manuscript in the subtitle of his unfinished "Acts of King Arthur ...," avoiding the "Morte" designation. (This is in fact an Arthurian novel by Steinbeck, incorporating chunks of source material, *not* a modernization.) Thus far, there is a certain amount of consistency.
However, a more recent Oxford edition, Helen Cooper's modernized spelling edition of the Winchester text for The Oxford World's Classics (1998; abridged, unfortunately; otherwise excellent), is instead titled "Le Morte D'Arthur." So, too, is the medievalist R.M. Lumiansky's much more extensively modernized 1982 complete version of the Winchester text. (Almost a translation, and thus an implied commentary on the text; but not to be confused with Lumiansky's projected, and unpublished, critical edition, almost complete at the time of his death in 1987. But is quite impressive, and I can understand anyone who thinks I am too critical of it.)
The title of the facsimile edition for the Early English Text Society (N.R. Ker, 1976) "The Winchester Malory," avoided the issue, but the volume also helped renew the debate over Vinaver's theory by eliminating his editorial hand, revealing that some of the textual divisions were NOT Caxton's work, but that of either a scribe or the author.
Stephen H. A. Shepherd's Norton Critical Edition is "Le Morte DArthur" on the cover, but on the title page has the Caxton-derived subtitle of "The Hoole Book of Kyng Arthur and of His Noble Knyghtes of The Rounde Table." This title may well go back to Malory, or least to the manuscripts; it would have appeared on the missing final pages. Shepherd, indeed, gives considerably more weight to Caxton's evidence than had become customary. It has become clear, from printer's marks, that the Winchester Manuscript was in fact available to Caxton, and was still on hand when his successor, Wynkyn de Worde, reset the "Morte" in 1498, introducing some of its readings.
This fact suggests that Caxton was comparing at least two full-length manuscripts, and that some of his "innovations" may reflect Malory's intentions as much as any other scribal copy.
The one-volume Oxford "Malory: Complete Works" is a rather bare-bones edition (especially compared to its three-volume prototype), consisting almost entirely of a very lightly "normalized" text (abbreviations are silently expanded, but variant spellings are usually preserved, etc.), with some good textual notes and a glossary (about a hundred pages of "apparatus").
In the Norton Critical Edition, Shepherd offers the reader an extended Introduction, Chronologies, a text with explanatory footnotes, a large section of "Sources" (earlier and / or alternative versions of Arthurian stories, many translated by Shepherd) and "Backgrounds" (contemporary medieval documents and modern histories illustrating Malory's times) and "Criticism" (essays and book excerpts), followed by a thirty-two-page double-column Glossary, a "Selected Guide to Proper Names," and a Selected Bibliography. He has a helpful section on Malory's language, covering not only grammatical differences from Modern English, but how it was pronounced (with encouragement to try reading it aloud, noting that Malory seems to have been a dangerously glib speaker.)
(Originally, there was also a website for the book, accessible through W.W. Norton's main page; among other useful features, it reported printing errors, and later announced that the corrections of those identified had been made in the second printing.)
Shepherd's text itself includes more of Caxton's readings, which seem to reflect another manuscript with different errors; and *manuscript* is the crucial word. Unlike Vinaver, who attempted to reproduce what he regarded as Malory's intended structure (or non-structure), Shepherd aims to create the impression of reading a medieval manuscript, without the most difficult obstacles. Not only are original spellings preserved, he carefully includes marginal notes and other indicators of scribal practices. Read more ›
8 of 8 people found the following review helpful
Format:Paperback|Amazon Verified Purchase
The other reviews are spot-on. A presentation of Malory that strongly evokes the experience of reading the original manuscript, but at the same time gives plenty of help for the modern reader. Introduction, explanatory notes and glossary are finely judged.
The editor, Stephen Shepherd, expresses some hesitation (p. xii) over the decision to break the text up into modern paragraphs, and not simply to reproduce the manuscript's placement of paragraph symbols in unbroken text. It's not a big issue, but I for one would have found this method attractive, the bold paragraph symbols (as I imagine) breaking up the text adequately and giving an even more distinctive, manuscript-like feel to it.
The only thing that slightly detracts from the book for me is the typesetting of the verso pages (the left-hand pages of each opening), which goes against traditional practice. Since the text is prose, set justified left and right, the marginal annotations of the left-hand pages could easily have been placed in the outer margin, in a mirror image of the right-hand pages. As it is there is a stark, mostly empty space along the inner edge of the left page, while the text comes to within a few millimetres of the outer edge, disturbing to the eye and leaving no thumb-room. Poetry has to be set this way, of course, with its ragged right edge - and in any case the narrower columns of text are easier to keep clear of the page's edge. But if this is Norton house style for prose, I can't see why it's necessary.
The editor, Stephen Shepherd, expresses some hesitation (p. xii) over the decision to break the text up into modern paragraphs, and not simply to reproduce the manuscript's placement of paragraph symbols in unbroken text. It's not a big issue, but I for one would have found this method attractive, the bold paragraph symbols (as I imagine) breaking up the text adequately and giving an even more distinctive, manuscript-like feel to it.
The only thing that slightly detracts from the book for me is the typesetting of the verso pages (the left-hand pages of each opening), which goes against traditional practice. Since the text is prose, set justified left and right, the marginal annotations of the left-hand pages could easily have been placed in the outer margin, in a mirror image of the right-hand pages. As it is there is a stark, mostly empty space along the inner edge of the left page, while the text comes to within a few millimetres of the outer edge, disturbing to the eye and leaving no thumb-room. Poetry has to be set this way, of course, with its ragged right edge - and in any case the narrower columns of text are easier to keep clear of the page's edge. But if this is Norton house style for prose, I can't see why it's necessary.
Most Recent Customer Reviews
1.0 out of 5 stars
Frustrated
I have been dying to get my hands on this book because I really enjoy Arthurian literature. I genuinely wish I could say that I had an opinion on this book itself, but I do not. Read more
Published 16 months ago by Student
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English literature - Le morte Darthur
Not as happy with this purchase as I expected to be. I'm looking for this book in a "legitimate" translation, but in current English, not the original English language version.
Published on February 18, 2011 by Book lover
4.0 out of 5 stars
Le Morte D'Arthur
Very handy and well done edition of the classic Arthurian legends. This book is not for the feint at heart as it is written in old english, but once you get through that roadblock... Read more
Published on December 17, 2007 by Jan Kostka
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