The torch of woman: A study of the women in Edwin Arlington Robinson's Arthurian poems

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Content THE TORCH OF WOMAN: A STUDY OF . THE WOMEN IN EDWIN ARLINGTON ROBINSON'S ARTHURIAN POEMS by R o b e r t A r t h u r Wood A T h e s i s P r e s e n t e d t o t h e FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In. P a r t i a l F u l f i l l m e n t o f t h e R e q u ir e m e n ts f o r t h e D eg ree .MASTER OF ARTS ( E n g l i s h ) r J a n u a r y 1962 UMI Number: EP44555 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI EP44555 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 UNIVERSITY O F S O U T H E R N CA LIFO RN IA GRADUATE SCHOOL UNIVERSITY PARK LOS ANGELES 7. CALIFORNIA £ 'U2. vV This thesis, written by ROJ^RX. ARTHUR,.. WQOD.................................. under the direction of h Thesis Committee, and approved by all its members, has been pre sented to and accepted by the Dean of the Graduate School, in partial fulfillment of re quirements for the degree of MASTER OF ARTS Dean Date. THESIS COMMITTEE ......... TABLE OP CONTENTS CHAPTER PAGE I , THE PROBLEM................................ . . 1 J u s t i f i c a t i o n o f t h e s t u d y , 1 R o b i n s o n ’s f o c u s o f i n t e r e s t on c h a r a c t e r , 1 R o b i n s o n ’ s i n t e r e s t i n and u s e o f C am elot * 3 R o b i n s o n ’s p o r t r a i t u r e o f women ............................ 7 ’’The t o r c h o f woman” , . . . . . . . . . . . 9 The ’’t o r c h ” i s ”t o be t a k e n l i t e r a l l y ” . , . 11 R o b i n s o n ’s e x p e r i e n c e w i t h women, . . . . . 11 S t a t e m e n t o f t h e p ro b le m s 12 Method o f p r o c e d u r e 12 O r g a n i z a t i o n o f t h e r e m a in d e r o f t h e t h e s i s , 13 I I . A REVIEW OP THE LITERATURE AND A BACKGROUND OP THE ARTHURIAN NARRATIVES........................................ 14 P la c e m e n t i n R o b i n s o n ’s c a r e e r . . . . . . . . 14 M e r l i n ........................... 15 L a n c e l o t 18 T r l s t r am 20 I I I . NARRATIVE STRUCTURE, NARRATIVE TECHNIQUES, AND WOMAN’S PLACE IN THE NARRATIVES . ...................... 24 M er1i n . 24 L a n c e l o t . 30 Tr r s t ra m . . . . . . . . . . . . . . . . . . . 38 N a r r a t i v e t e c h n i q u e s * 47 CHAPTER IV* THE TORCH OP WOMAN: BEAUTY AND WARMTH . * . 0 9 9 i i i PAGE 50 B63,uty # * •• m > 0 m * * 9- m - 51 W armth, 9 • 0 m # # 9 • 9 58 W it and ch arm . , * , . 0 • 9- * • • 0. 9 9 # . 58 D e v o tio n and s e l f l e s s n e s s * . . # # * 9 • * 63 v . THE TORCH OF WOMAN: POWER, * * W ■* 9 * * 9 4 * 69 E n e rg y 9 0 m 4 9 • • ♦ * # 69 P a s s i o n . * .. * * , , - ♦ 9 9 9 # • « r 9 ♦ * 69 E m o t i o n a l a b an d o n . . » ■ # * m • • * * 9 9 9 72 ! 1 I m p u l s i v e a c t i o n , * , , ■ 0 0 0 4 0 t * 0 9 9 73 1 C o n c e p ts o f s e x and s i n • 4 # 9 • 78 i I S t r e n g t h o f e x p r e s s i o n . ♦ ♦ 9 0 4 # « * 9- 9 -9 79 : Power o f a c t i o n . * . * 0 4 0 4 4 ■ * 9 9 4 80 I n f l u e n c e 4 m 9r m 9 .» # 9 4 0 81 C a l c u l a t i o n . . . . . . 9 # ♦ # ♦ • • *- 49 4 9 82 C a p a c i t y t o b l i n d man . • * 9 • 9 •• • 9 9 9 83 C a p a c i t y t o s e d u c e r e a s o n , p r i n c i p l e , and d u t y . 0 4 9 9 9 m 9 9 0 9 83 ! VI* THE TORCH OF WOMAN: LIGHT. 0 0 4 4 9 9 • 9 9 9 86 i I l l u m i n a t i o n . . * , , , , 9 * m 9 9 ! 86 P e r c e p t i o n o f s i t u a t i o n m 0 9 9 0. 9 9 9 ■0 9 86 P e r c e p t i o n o f t h e w o r ld 9 0 m if • 9 9 9 4 9 89 P e r c e p t i o n o f t h e b a s i c w o r ld f o r c e s i n • 9 9 9 * - t h e 9 9 9 4 .9 i 91 CHAPTER •VII. ♦ * 9 9 As woman, t h e f u l l sw eep o f f e m i n i n e n a t u r e . , . . . As u l t i m a t e i d e a l i s m , , BIBLIOGRAPHY....................................................... 0 0 9 ♦ * * IV PAGE D i r e c t i o n . . . . . . ♦ 00 0 0 9 9 • w. 9 0 W 9 93 P r o p o s e s new r u l e s . # • ■0 * * ' 0 0 0 9 9 0: 0 0 94 I n t r o d u c e s new c o n c e p t 9 0 0 0 <9 9. 9 0 0 0 9 95 CONCLUSION. 9 *0 0 9 9 0 9 9 0 9 9 9 98 Summary . . . . . . . » m * 9 0 0 9 9 0 9' 9 9 99 The A r t h u r i a n women • m • 9 0 ■0 9 -9 0 0 0 9 99 V i v i a n . . . . . . :9 m * 9 0 0 m 0 0 0 0 -#• 99 G u in e v e re . . . . • 0 ♦ 0 9 0 9 9 9 » 0 0 101 I s o l t o f B r i t t a n y 0 9 0 0 J0 0 ■9 -9 0 9 9 9 103 Q ueen M organ. . , 0 * 9 0 0 9 9 0 m 0 9 0 104 I s o l t o f I r e l a n d . m • 9 * 0 0 9 9 0 0 9 0 105 The c o m p o s i t e woman 0 0 0 9 -9 9 * 0 9 9 9 9 106 T ,The t o r c h o f woman” . •- 9 9 9 9 9 9 9 9 0 9 0 108 As a sy m b o l . . . . 9 9 ■ 9 . 0 9 9 0 9 9 9 9- 0 109 116 120 123 i CHAPTER I THE PROBLEM E dw in A r l i n g t o n R o b in s o n s t a n d s a p a r t from n e a r l y a l l , m a jo r t w e n t i e t h - c e n t u r y A m e ric a n p o e t s , w i t h t h e e x c e p t i o n s , o f R o b e r t F r o s t and t h e s i n g l e s u c c e s s o f E d g a r Lee M a s te r s i i n t h e Spoon R i v e r A n t h o l o g y , i n h i s f o c u s o f i n t e r e s t on c h a r a c t e r and on an i n t e r p r e t a t i o n o f l i f e . From th e e a r l y ; and now f a m i l i a r p o r t r a i t s — l i k e " M in iv e r C h e e v y ," " R ic h a rd , i C o r y ," an d "Mr, F l o o d ’s P a r t y " — t o t h e l a t e r and l o n g e r ■ ' i J p o r t r a i t s — l i k e Cave n d e r * s H ouse , M a t t h i a s a t t h e D o o r , a.nd| K ing J a s p e r — R o b in s o n e x h i b i t s a f u n d a m e n ta l and c o n s t a n t i n t e r e s t i n human c h a r a c t e r ; and t h e s t o r i e s o f t h e s e p e o - I p i e a r e t o l d , n o t f o r th e s a k e o f t h e s t o r i e s t h e m s e l v e s , ! I J b u t f o r t h e sa k e o f t h e p e o p l e i n th e m . The s t r e n g t h o f t h e p o e t r y , h o w e v e r, l i e s n o t i n th e g e n e r a l o r e v e n p e r s i s t e n t i n t e r e s t i n human c h a r a c t e r a l o n e , b u t i n w hat C h a r l e s C e s t r e c a l l s th e p s y c h o l o g i c a l i n s i g h t w i t h w h ich he a n a l y s e s t h e i c h a r a c t e r s , and t h e d r a m a t i c f o r c e w i t h w h ic h he p r e - j , s e n t s t h e c o n f l i c t o f f e e l i n g s . jM ost t w e n t i e t h - c e n t u r y p o e t s , o b s e r v e s E l l s w o r t h B a r n a r d , ! 1" a r e c o n c e r n e d w i t h e i t h e r t h e m s e l v e s o r t h e u n i v e r s e , ^ I ^An I n t r o d u c t i o n to Edw in A r l i n g t o n R o b in s o n (New Yo r k , 1 9 3 0 ) , p , 119, ; q i . . . w i t h e i t h e r t h e s i n g u l a r o r t h e s y m b o l i c " ; b u t R ob- I i n s o n , s t a t e s L lo y d M o r r i s , i s c o n c e r n e d c h i e f l y w i t h t h e p e r s o n a l i t y and t h e d y n a m ic s o f human j c h a r a c t e r , w i t h s p e c i f i c a l l y c h a r a c t e r i n t h o s e moments ; o f c h o i c e i n w h ic h t h e c o m p le te p a s t i s h a r v e s t e d , i i : T h is c o n c e r n w i t h p e r s o n a l i t y and t h e d y n a m ic s o f i I | human c h a r a c t e r i s , i n R o b in s o n , i n t e r r e l a t e d w i t h a d i s - 1 I I ! p o s i t i o n t o f i n d i n t h e common e x p e r i e n c e o f A m e ric a n l i f e I 1 t h e s u b j e c t m a t t e r f o r p o e t r y and a d e s i r e t o e x p r e s s t h a t \ i i e x p e r i e n c e d i r e c t l y and n a t u r a l l y . Such c o n c e r n , d i s p o s i - I i | t i o n , and d e s i r e l e d R o b in s o n t o t h e c r e a t i o n o f c h a r a c t e r s ! » who h av e a s o r t o f o b j e c t i v e e x i s t e n c e and an i d e n t i t y ! o f t h e i r own, and w hose m ain a p p e a l i s s im p ly t h a t th e y I a r e p e o p l e . ( B a r n a r d , p , 122) j ;T h is k in d o f c h a r a c t e r p o r t r a y a l h a s t y p i c a l l y b e e n l e f t j i j t o t h e p r o s e w r i t e r s - - i n d e e d , V a c h e l L i n d s a y once c a l l e d | i A I I .R obinson " a n o v e l i s t d i s t i l l e d t o a p o e t " - — and when t h i s i c h a r a c t e r - d r a w i n g " b e a r s t h e p h y s i c a l and m o ra l f u l l n e s s , iirhe w e a l t h o f p s y c h o l o g i c a l t r u t h and t r a g i c f o r c e " i ( C e s t r e , p . 135) t h a t R o b in s o n b r i n g s t o h i s p o r t r a i t s , j i t n e e d s o n l y t o be a p p l i e d t o some a c t i o n t o e x p a n d i n t o ' d r a m a t i c n a r r a t i v e . C h a r a c t e r i z a t i o n i s t h e n moved fro m 1 : p ^Edw in A r l i n g t o n R o b in s o n : A C r i t i c a l S tu d y (New |Y o rk , 1 9 5 2 ) , p. 1 2 2 . ^The P o e t r y o f E d w in A r l i n g t o n R o b in s o n (New Y o rk , ,1 9 2 3 ), p. 2 0 . ^ Q u o t e d j[n E d w in A r l i n g t o n R o b i n s o n , by M ark Van D o re n , p . 2 3 . t h e s t a t i c t o t h e d ynam ic s t a g e , and i t i s j u s t t h i s e x p a n s i o n o f c h a r a c t e r d e l i n e a t i o n t o t h e dynam ic t h a t ; makes p o s s i b l e t h e A r t h u r i a n poems M e r l i n , L a n c e l o t , and i T r i s t r a m . i ; T h e re was e v e r y r e a s o n f o r R o b i n s o n ’s b ecom ing i n t e r - e s t e d i n t h e g r e a t l e g e n d s o f C a m e lo t. H e re w ere g r e a t I f i g u r e s s t r u g g l i n g a g a i n s t g r e a t f o r c e s . H ere w ere g r e a t f i g u r e s f i g h t i n g t o g a i n some m e a n in g f u l s u c c e s s , y e t r a c k e d w i t h d o u b t and a n g u is h * R o b in s o n , e v e n b e f o r e t h e t u r n o f t h e c e n t u r y , h a d b e e n c o n c e r n e d w i t h t i m e , r e l a t i v e s u c c e s s , and d o u b t . C am elo t now p r o v i d e d him w i t h j |w h a t M ark Van D o re n s e e s a s a " s c e n e , a b a c k g ro u n d a g a i n s t |w h ic h sy m b o ls w h e r e th r o u g h he i n t e r p r e t s human m o tiv e ;may be p r o j e c t e d " ^ » - a s t a g e s e t t o d i s p l a y t h e "w hole 's u b l i m e body o f t r a g i c v i s i o n " (Van D o re n , p . 6 7 ); t h u s , i R o b i n s o n ’s A r t h u r i a n poems a r e an e x p r e s s i o n , and a s i n g u l a r l y m odern e x p r e s s i o n , o f t h e p e r p e t u a l l y r e c u r r e n t moods o f t h e human s p i r i t i n i t s g e s t u r e to w a rd i m m o r t a l i t y , o f t h e e n d u r i n g a s p i r a t i o n s t o b e a u t y , t o k n o w le d g e , t o f r e e d o m , th ro u g h w h ic h i t s e e k s t o r e s o l v e t h e f i n a l m ean in g o f l i f e . ( M o r r i s , p . 47) j R o b i n s o n ’s m anner had a lw a y s b e e n t h a t o f th e j i n s p i r e d r e a d e r o f l i f e , t h e a t t e n t i v e o b s e r v e r o f I c h a r a c t e r , t h e s e a r c h i n g e x p l o r e r o f t h e s e c r e t c o n - | f l i c t s o f t h e h e a r t . ( C e s t r e , p . 4 ) I e ; ^Van D o re n , p . 6 6 . His legends, then, are not just re^tellings of already ' o v e r * - p o e t i c i z e d s u b j e c t s ; t h e y r e p r e s e n t t h e “ d i s t i l l a t i o n j ,and t h e s y n t h e s i s o f a r i g o r o u s o b s e r v a t i o n o f human ! i n a t u r e and e x p e r i e n c e " ( M o r r i s , p . 4 6 ) . They r e p r e s e n t ; I ' j R o b i n s o n ’s p e r s o n a l i n t e r p r e t a t i o n o f l i f e ; t h r o u g h them I i h e p r o j e c t s h i s c o n c e p t s o f t h e p a s t , t h e p r e s e n t , and t h e ; 1 ' f u t u r e . | T h e re i s no d o u b t t h a t t h e f a l l o f A r t h u r ’s kingdom | a llo w e d a s t r i k i n g p a r a l l e l t o . th e w o r ld R o b in s o n saw i n ! t h e t w i l i g h t o f t h e s e c o n d d e c a d e o f t h e t w e n t i e t h c e n t u r y . He s a i d i n a l e t t e r t o Hermann H a g e d o rn , d a t e d S e p te m b e r 8, j ■1918, t h a t he h a d made M e r l i n , 1 i w i t h o u t any l e g e n d a r y a u t h o r i t y , s u c h a l o v e r o f t h e ; j w o rld as t o u s e A r t h u r and h i s em p ire as an o b j e c t I l e s s o n t o p ro v e t o com ing g e n e r a t i o n s t h a t n o t h i n g c a n s t a n d on a r o t t e n f o u n d a t i o n . 6 i .T h u s, R o b i n s o n ’s p h i l o s o p h y o f l i f e r e f l e c t s " t h e d i s s o l u - 1 t i o n o f t r a d i t i o n an d dim f o r e s h a d o w in g s o f an e r a t o ‘c o m e ,”7 w i t h t h e e v e n t u a l p r o m is e o f a m i g h t i e r daw n. :Most c o n te m p o r a ry c r i t i c s w ere q u i c k t o p o i n t o u t t h e po** t : l i t i c a l a l l e g o r y i n M e r l i n and L a n c e l o t ~ «-with A r t h u r a sy m b o l o f t h e tr a d it i o n * - b o u n d B r i t i s h E m p ir e ; G aw aine a | , 1 I i 1 A i ! S e l e c t e d L e t t e r s o f E dw in A r l i n g t o n R o b i n s o n , comp. R id ge l y T o r r e n c e (New York', T ^ 4 W T ^ ~ p T l T 2 Z H e r e a f t e r c i t e d a s L e t t e r s . 7 ' L u c iu s B e e b e , A s p e c t s o f th e P o e t r y o f E dw in I A r l i n g t o n R o b in s o n (C a m b rid g e , M a s s ., 1 9 2 8 ) , p . 4 9 . j ■symbol o f t h e y o u t h f u l , r a t h e r i r r e s p o n s i b l e A m erica* and L a n c e l o t a r a t h e r d i s t a n t sy m b o l o f G erm any. But t o s e e i n t h e poems o n l y t h e e v e n t s l e a d i n g up t o and s u r r o u n d i n g W o rld War I i s t o u n d e r e s t i m a t e t h e i r s c o p e o f r e f e r e n c e , f o r t h i s s c o p e o f r e f e r e n c e i s , a s M ark Van D o ren s t a t e s , " s u r e l y t o u n i v e r s a l i s s u e s ” ( p , 6 7 ) . Y e t , t h e poems a r e p r i m a r i l y s t o r i e s o f p e o p l e , s t o r i e s t h a t may be r e a d f o r t h e i r own s a k e s* f o r as Ben Ray Redman p o i n t s o u t , t h e c h a r a c t e r s p o r t r a y e d a r e "more a l i v e . . . t h a n sy m b o ls O h av e any r i g h t t o b e . ” I n d e e d , R o b in s o n h i m s e l f s a i d t h a t , a l t h o u g h t h e r e i s a c e r t a i n amount o f s y m b o lic sig n i f i c a n c e s u g g e s t e d by t h e W orld War i n M e r l i n and iL a n c e l o t , " p o s s i b l y t h e s e two poems may be r e a d j u s t a s |w e11 w i t h no i n n e r s i g n i f i c a n c e b e y o n d t h a t w hich i s !o b v i o u s " (L e t t e r s , p . 1 6 0 ) . • T h a t w h ic h makes t h e s t o r i e s i n t e r e s t i n g i n t h e m s e l v e s ;and t h e c h a r a c t e r s s o a l i v e was s i n g l e d o u t e a r l y by Amy { {Low ell w hen s h e s a i d , Mr. R o b in s o n d e a l s w i t h s o m e th in g w h ic h m ig h t b e c a l l e d raw human naturen.*-not c r u d e human n a t u r e , b u t human n a t u r e s i m p l e , d i r e c t , and a s i t i s , 9 I i {And i t i s t h r o u g h t h i s raw human n a t u r e t h a t R o b in s o n I jmoves i n t o " t h e a w fu l r e a l m o f human t r u t h and d r a m a t i c ^Edw in A r l i n g t o n R o b in s o n (New Y o rk , 1 9 2 6 ) , p . 7 5 , : ^ T e n d e n c ie s i n M odern A m e ric a n P o e t r y (New Y o rk , . 1 9 1 7 ) ^ p m 5 2 . 1 i n t e n s i t y ” ( C e s t r e , p . 7 9 ) , f o r t h e c e n t r a l d r a m a t i c th e m e s o f t h e A r t h u r i a n poems a r e t h e n o b le and i n s p i r i n g th e m e s o f e p i c s : b a l k e d e n d e a v o r , t h w a r t e d p a s s i o n , p a t h e t i c e f f o r t s o f s e l f r e d r e s s m e n t , p i t i f u l r e l a p s e s * in w a rd s t r u g g l e b e tw e e n t h e c o n s c i o u s and t h e s u b c o n s c i o u s , b l i n d g r o p i n g a f t e r t r u t h , d e f e a t e d a s p i r a t i o n s t o happiness*-*" o f s u c h l i f e > - t h r e a d s i s w oven t h e t r a g e d y o f h o p e and d i s a p p o i n t m e n t , w ith s u c h a r t - m a t e r i a l s i s b u i l t t h e e p i c . ( C e s t r e , p . 79) W ith s u c h m a t e r i a l s R o b in s o n b u i l d s t h e t r a g i c t r i l o g y o f A r t h u r i a n l e g e n d . E s t e l l e K a p la n s e e s t h e c e n t r a l them e o f t h e t r i l o g y a s t h e t r a g e d y o f lo v e i n c o n f l i c t w i t h duty,***® and Van Wyck B r o o k s , i n New E n g l a n d ; I n d i a n Summer, s e e s t h e c h a r a c t e r s a s l o s t s o u l s , s c a r r e d by f a i l u r e s - - c h i l d r e n o f t h e a b y s s — y e t p o s s e s s e d o f some s p i r i t u a l i t y . But t h e y a r e p e o p le w i t h g r i e f s , n o t g r i e v a n c e s , g r i e f s t h a t R o b e r t F r o s t f i n d s ”R o b i n s o n i a l l y p r o f o u n d . The t r a g e d y and t h e g r i e f a r e p e r s o n a l i z e d t h r o u g h t h e e x p e r i e n c e o f l o v e , f o r no m a t t e r w hat e l s e one c o n s i d e r s t h e A r t h u r i a n poems t o b e , t h e y a r e f i r s t lo v e s t o r i e s ; and human lo v e i s an i n s t a n c e o f t r a g e d y i n e x i s t ' e n c e , i n w h ic h R o b in s o n * s women become t h e i n s t r u m e n t s o f 10 P h i l o s o p h y i n t h e P o e t r y o f Edw in A r l i n g t o n R o b in s o n '(M ornings i d e H e i g h t s , New Y o rk , 1940) , p . 3 7 , H (N ew Y o rk , 1 9 4 0 ) , p p . 5 0 7 - 5 0 9 , p a s s i m . ^ i n t r o d u c t i o n . K ing J a s p e r , by E d w in A r l i n g t o n R o b in s o n (New Y o rk , 1 9 3 5 ; , p . v i i i . m an’ s g r i e f as w e l l a s h i s e c s t a s y , W h ile t h e poems t a k e t h e i r t i t l e s fro m t h e names o f t h e men i n e a c h c a s e , i t i s i t h e women who a r e m em o ra b le ; f o r , a s L o u is e D a n n e r p o i n t s o u t , R o b in s o n i s ’’p e r h a p s a t h i s b e s t i n t h e p o r t r a y a l o f f e m i n i n e c h a r a c t e r , ” - * - 3 an e v a l u a t i o n s u p p o r t e d by C o n rad 1 A ik e n , who s e e s R o b i n s o n ’s ’’c h i e f e x c e l l e n c e i s an e x c e l - \ 7 ' ; ! 1 l e n c e o f p o r t r a i t u r e . . . p a r t i c u l a r l y . , * h i s per** 1 A l i t r a i t s o f w om en,” ^ D au n er f u r t h e r f i n d s t h a t t h e p r o b le m i [ ' o f f e m in i n e c h a r a c t e r i z a t i o n (a n d i t s i m p l i c a t i o n s ) i s l I p a r t i c u l a r l y i n t e r e s t i n g i n R o b i n s o n ’s p o e t r y ’’b e c a u s e o f j i t s i m p o r ta n c e i n any a t t e m p t a t a d e q u a t e c o m p r e h e n s io n o f j !h i s a r t ” ( D a u n e r, p . 1 3 9 ) , T h i s a r t , Yvor W i n t e r s s t a t e s , ! ! jg o e s b ey o n d t h e p ro b le m s and i m p l i c a t i o n s o f m ere n a r r a t i v e ! i i c h a r a c t e r i z a t i o n : i I < i ; Mr. R o b i n s o n ’s g r e a t n e s s l i e s n o t i n t h e p e o p l e o f whom : i he h a s w r i t t e n , b u t i n t h e p e r f e c t b a l a n c e , t h e p e r f e c t p r e c i s i o n , w i t h w h ic h he h a s s t a t e d t h e i r c a s e s . - 1 -5 I t i s p r e c i s e l y w i t h t h i s c h a r a c t e r i s t i c o f R o b in s o n t o ’’s t a t e t h e c a s e ” o f h i s c h a r a c t e r s t h a t t h i s p a p e r i s c o n c e r n e d ; s p e c i f i c a l l y , i t i s w i t h t h e b a l a n c e , t h e p r o * i c i s i o n , w i t h w h ic h he h a s s t a t e d wom an’s c a s e t h a t t h i s p a p e r i s c o n c e r n e d . 13 ’’The P e r n i c i o u s R ib : E # A* R o b i n s o n ’s C o n ce p t o f \ F e m in in e C h a r a c t e r , ” A m e ric a n L i t e r a t u r e , 1 5 :1 4 8 , May 1 9 4 3 ,; 1 4 ”T r i s t r a m , ” New R e p u b l i c , 5 1 : 2 2 , May 2 5 , 1927, ! ■*'^”A C o o l M a s t e r , ” P o e t r y , 1 9 : 2 8 1 , F e b r u a r y 1922,. 8 The t h e s i s f o r t h a t c a s e i s fo u n d i n t h e l a s t s e c t i o n o f t h e f i r s t poem o f R o b i n s o n 's A r t h u r i a n t r i l o g y , M e r i i n . W ith t h e f a l l o f C a m e lo t a t h a n d , w i t h h i s t w e l v e - y e a r i n t e r l u d e w i t h V i v i a n b e h in d h im , and w i t h t h e w o r l d ; f i g u r a t i v e l y c r u m b li n g b e f o r e h im , M e r l i n s a y s t o Dago.net> 1 a s t h e tw o s t a n d a t M e r l i n 's Rock and l o o k down on C am elot p r e p a r i n g f o r c i v i l w a r , J When I b e g a n w i t h A r t h u r I c o u ld s e e , I n e a c h b e w i l d e r e d man who d o t s t h e e a r t h ! A moment w i t h h i s d a y s a g r o p in g t h o u g h t I O f a n e t e r n a l w i l l , s t r a n g e l y endowed i W ith m e r c i f u l i l l u s i o n s w h ereb y s e l f Becomes t h e w i l l i t s e l f and e a c h man s w e l l s j I n fo n d a c c o r d a n c e w i t h h i s a g e n c y . | Now A r t h u r , M odred, L a n c e l o t , and Gawaine ! A re s w o l l e n t h o u g h t s o f t h i s e t e r n a l w i l l j W hich h av e no o t h e r way t o f i n d t h e way j T h a t l e a d s th em on t o t h e i r i n h e r i t a n c e j T han by t h e t i m e - i n f u r i a t i n g fla m e ■ Of a w re c k e d e m p i r e , l i g h t e d by t h e t o r c h | Of woman, w ho, t o g e t h e r w i t h t h e l i g h t , T h a t G a la h a d f o u n d , i s y e t t o l i g h t t h e w a r l d , 1 6 i , The l a s t t h r e e l i n e s o f t h i s p ro p h e c y a r e r e p e a t e d w i t h ’ o n ly m in o r c h a n g e s i n w o r d in g f o u r tim e s i n t h e n e x t s i x p a g e s o f t h e poem? and M e r l i n ' s l a s t w o r d s , a s h e lo o k s b a c k w a rd s and f o r w a r d s i n t o t i m e , a r e t h e s e : I saw myself-**- A s i g h t no o t h e r man h a s e v e r se e n ? And t h r o u g h t h e d a r k t h a t l a y b e y o n d m y s e l f I saw tw o f i r e s t h a t a r e t o l i g h t t h e w o rld ,. 7 16 Edw in A r l i n g t o n R o b in s o n , C o l l e c t e d Poems (New Y o rk , 1 9 3 7 ) , p . 3 0 7 . 7Rob i n s o n , P o em s, p . 313 „ 9 o f t h e tw o f i g u r e s , " t h e t o r c h o f woman1 1 and " t h e l i g h t t h a t G a la h a d f o u n d , 1 1 o n l y t h e f o r m e r i s a c o n c e r n o f t h i s p a p e r . The l a t t e r i s r a t h e r g e n e r a l l y u n d e r s t o o d by c r i t i c s o f R o b in s o n f o r two r e a s o n s : f i r s t , L i g h t and i t s o p p o s i t e , d a r k n e s s , a r e s u s t a i n e d im a g e s t h r o u g h o u t Robin** s o n 1s w o rk fro m t h e v e r y e a r l y p i e c e s t h a t w ere t o go i n t o i : C h i l d r e n o f t h e N ig h t ( e . g . , " C h i l d r e n o f t h e N i g h t , 1 1 [ " C r e d o , 1 1 " R i c h a r d C o r y , " and " O c t a v e s " ) , t h r o u g h " C a p t a i n i ' C r a i g ," "The Man A g a i n s t t h e S k y ," and t h e lo n g n a r r a t i v e < : poem s, t o K in g J a s p e r , w hose p r o o f s R o b in s o n f i n i s h e d i ' c o r r e c t i n g o n l y t h r e e d a y s b e f o r e h i s d e a t h ; and s e c o n d , i R o b in s o n him self*-*-in a S e p te m b e r 8 , 1 9 1 8 , l e t t e r t o Hage** d o r n — o f f e r e d a d e f i n i t i o n : G a l a h a d 1s " l i g h t " i s s im p ly t h e l i g h t o f t h e G r a i l , i n t e r p r e t e d u n i v e r s a l l y a s a s p i r i t u a l r e a l i z a t i o n o f j t h i n g s and t h e i r s i g n i f i c a n c e s . I d o n ft s e e how t h i s : c a n be made any more c o n c r e t e , f o r i t i s n o t t h e same t o any two i n d i v i d u a l s . (L e t t e r s , p . 113) W h ile t h i s d e f i n i t i o n i s c h a r a c t e r i s t i c a l l y e l u s i v e , i t a p p a r e n t l y i s c o n c r e t e e n o u g h , f o r t h e r e i s v e r y l i t t l e c o n f u s i o n c o n c e r n i n g " t h e l i g h t t h a t G a la h a d f o u n d . ” ■ "The t o r c h o f woman" i s , h o w e v e r, a v e r y d i f f e r e n t i m a t t e r . R a t h e r t h a n g e n e r a l a g r e e m e n t among t h e c r i t i c s , a s i s t h e c h s e w i t h G a l a h a d ^ " l i g h t , " t h e r e i s g e n e r a l 'd i s a g r e e m e n t c o n c e r n i n g t h e m ean in g o f t h e f i g u r e . The ;" t o r c h o f woman" h a s b e e n g i v e n a g r e a t many r e a d i n g s , I among th e m t h e f o l l o w i n g : i n t u i t i o n t o t r u t h , t h e aspira** t i o n o f t h e s p i r i t , m a t e r i a l e x p e r i e n c e , t h e t a n g i b l e b e a u t y o f t h e p h y s i c a l w o r l d , t h e i n s t i n c t t o a b h o r w a r , t h e b e a u t y o f t h e c h i v a l r i c i d e a l , co sm ic o p tim is m , t h e i n t e r d e p e n d e n c e o f man and woman, t h e c a p a c i t y t o aw aken man, y o u t h , l o v e , p a s s i o n , p a s s i o n a t e l o v e , s e x u a l l o v e , t r a n s c e n d e n t a l l o v e , and t h e e a r t h b o u n d d e s i r e s o f t h e s m a l l and t r a n s i e n t p e r s o n a l s e l f . Whence t h e c o n f u s i o n ? F i r s t , R o b i n s o n ’s p r o c l i v i t y t o o b s c u r i t y ; s e c o n d , t h e l a c k o f any c o n c r e t e s t a t e m e n t i n e i t h e r h i s p o e t r y o r h i s l e t t e r s t o c l a r i f y h i s mean i n g ; and t h i r d , t h i s r a t h e r d i s c o n c e r t i n g s t a t e m e n t i n t h e same l e t t e r t o H a g e d o rn j u s t c i t e d : The " t o r c h o f women" j^ s i c J i s t o be t a k e n l i t e r a l l y , (L e t t e r s , p . 113) The c r i t i c , t h e n , i s l e f t w i t h t h e poems t h e m s e l v e s — t h e women, t h e fla m e im a g e s , and t h e p r o p h e c y : t h i s " t o r c h o f w om an," t h i s " s t a r r y f i r e , " t h i s " n i g h t - w i l d f i r e , " t h i s " d a r k f i r e , " t h i s " l a s t f i r e o f T i m e , " t h i s " w h ite w i s e f i e r y t h i n g , " t h i s " f l a m i n g w a y ," t h i s " l a u g h i n g f l a m e , " t h i s " im m o r ta l f la m e " t h a t i s " t o l i g h t t h e w o r l d , " " i l l u m i n a t e t h e w o r l d , " and " s a v e u s a l l , " I t s h o u l d be n o t e d t h a t R o b in s o n h a d v e r y l i t t l e f i r s t - h a n d i n f o r m a t i o n a b o u t " t h e t o r c h o f wom an," T h e re i s no i n d i c a t i o n i n h i s l e t t e r s o r i n t h e s e v e r a l b i o g r a p h i e s t h a t he h ad e v e n a s i n g l e e x t e n d e d , p h y s i c a l — e m o t i o n a l r e l a t i o n s h i p w i t h a woman. U n f o r t u n a t e l y , f a r t o o l i t t l e i s known c o n c e r n i n g R o b i n s o n ’s p e r s o n a l l i f e i n t h e s e m a t t e r s , and t h o s e who m ig h t h a v e b e e n a b l e t o t e l l more c h o s e n o t t o do s o , Hermann H a g e d o rn , who knew R o b in s o n b e t t e r t h a n any o t h e r man who w r o te a b o u t t h e p o e t , i.ndi« , , c a t e s o n l y one e m o t i o n a l a s s o c i a t i o n f and t h i s a s s o c i a t i o n j I ; I w h ic h o c c u r r e d when R o b in s o n was tw e n ty > ~ e ig h t, l a s t e d o n ly j ; i | a y e a r and was w i t h a g i r l i n h e r e a r l y t w e n t i e s who j ! t h o u g h t o f R o b in s o n a s a c o m p a n io n , a f r i e n d , B e f o r e r I ' t h i s , t h e r e h a d b e e n a h i g h s c h o o l ro m a n c e , " a b r i e f an d j ' t e r r i f y i n g e x p e r i e n c e a n d , a f t e r i t was o v e r , he f e l t a I | t h o u s a n d y e a r s o l d ” (H a g e d o rn , p . 2 9 ) . A f t e r t h i s , t h e r e Jwas n o o n e . From boyhood t o o l d ag e h e k e p t e m o t i o n a l , d i s t a n c e - » - i f n o t p h y s i c a l d i s t a n c e - - f r o m women: I j He s h r a n k i n t e r r o r fro m t h e s l i g h t e s t a d v a n c e , and he j saw a d v a n c e s up e v e r y f o r e s t a i s l e . The u n e x p e c t e d j t o u c h o f a h a n d f r o z e h im , and a r a s h w ord o f a d o r a t i o n t u r n e d him t o s t e e l . (H a g e d o rn , p . 35 3 ) 'Y e t , i n s p i t e o f t h i s e m o t i o n a l d i s t a n c e , R o b in s o n f e l t I ' t h a t i t i s woman, who, w i t h t h e l i g h t o f t h e G r a i l , i s y e t i t o s a v e t h e w o r l d . ! S t a t e m e n t o f t h e p r o b le m . I t i s t h e p u r p o s e o f t h i s , J p a p e r t o d i s c o v e r t h e c h a r a c t e r i s t i c s o f woman as R o b in s o n \ ■ p r e s e n t s them i n t h e A r t h u r i a n poems M e r l i n , L a n c e l o t , and ' | T r i s t r a m and t h r o u g h them t o d i s c o v e r h e r m ean in g a s t h e 18E dw in A r l i n g t o n R o b in s o n : A B io g r a p h y (New Y ork, 1 9 3 S ) , p . 143. 12 ’’t o r c h o f woman” and how, a s s u c h , R o b in s o n t h i n k s sh e may ” l i g h t t h e w o r l d . ” M ethod o f p r o c e d u r e . I f ’’t h e t o r c h o f woman” i s t o be ’’t a k e n l i t e r a l l y , ” t h e n woman m ust be p o s s e s s e d o f cer»* ■ i t a i n c h a r a c t e r i s t i c s o f a t o r c h o r f l a m e , w h ic h seem t o j f a l l i n t o t h r e e g e n e r a l a r e a s i t h o s e w h ic h p l e a s e t h e ' s e n s e s , t h o s e w h ic h i n f l u e n c e t h e i r e n v i r o n m e n t , and t h o s e 1 w h ic h i l l u m i n a t e o r p r o v i d e d i r e c t i o n . More s i m p l y i j b e a u t y an d w a rm th , p o w e r, and l i g h t . F o r t h e p u r p o s e s o f | i t h i s s t u d y , i t h a s b e e n d e t e r m i n e d t h a t t h e d e s c r i p t i o n o f ! t h e women i n R o b i n s o n ’s A r t h u r i a n poems and a d e t e r m i n a t i o n : o f t h e m ean in g o f ’’t h e t o r c h o f woman” c a n b e s t be h a n d l e d j t o g e t h e r * A c h a p t e r i s , t h e r e f o r e , d e v o t e d t o t h e s t u d y ofj e a c h o f t h e fla m e c h a r a c t e r i s t i c s , i n w h ic h e a c h o f t h e J women i s a n a l y s e d f o r su c h c h a r a c t e r i s t i c s . A summary o f i n d i c a t i o n s o f e a c h f la m e c h a r a c t e r i s t i c i s p r o v i d e d a t t h e end o f e a c h c h a p t e r , and t h e s e a r e c o l l e c t e d t o make up a ‘ k i n d o f c o m p o s ite R o b i n s o n i a n woman i n t h e f i n a l c h a p t e r J f o r a n a l y s i s a s ’’t h e t o r c h o f w om an.” j i ! O r g a n i z a t i o n o f t h e r e m a i n d e r o f t h e t h e s i s . B e c a u se J o f t h e l i m i t a t i o n o f t h i s s t u d y t o t h e women i n t h e A r t h u r . ; i a n s t o r i e s o f R o b in s o n , i t seem s e s s e n t i a l t h a t some b a c k -; ! g r o u n d be p r o v i d e d s o t h a t t h e r e a d e r may s e e b o t h t h e poems and t h e c h a r a c t e r s i n t h e i r p r o p e r p e r s p e c t i v e s . ! 13 C h a p t e r I I , t h u s , i s d e v o t e d t o a r e v i e w o f e s s e n t i a l b i o g r a p h i c a l m a t e r i a l and o f c r i t i c a l r e s p o n s e t o t h e A r t h u r - ! i a n p o em s, C h a p te r I I I r e v i e w s t h e n a r r a t i v e s o f e a c h poem t o i n d i c a t e t h e r e l a t i o n s h i p o f t h e women t o t h e e v e n t s andj t t o t h e men. T h i s c h a p t e r a l s o p r o v i d e s i n f o r m a t i o n on i R o b i n s o n ’s n a r r a t i v e t e c h n i q u e s . W ith t h i s b a c k g r o u n d , t h e r e a d e r i s t h e n d i r e c t e d t o t h e s p e c i f i c c h a r a c t e r i s t i c s | and W arm th, P o w e r, and L i g h t , The f i n a l i ! a summary and c o n c l u s i o n s . I o f woman— B e a u ty c h a p t e r c o n t a i n s I I I I CHAPTER I I i A REVIEW OF THE LITERATURE AND A BACKGROUND OF THE ARTHURIAN NARRATIVES I E d w in A r l i n g t o n R o b i n s o n ’s t h r e e A r t h u r i a n poems ! a p p e a r e d i n w h at may be c a l l e d h i s m id d le p e r i o d . M e r l i n ! r 1 r"T " “ r ' I ,was p u b l i s h e d i n 1 9 1 7 , a f t e r The T o r r e n t and t h e N ig h t ' B e f o r e ( 1 8 9 6 ) , The C h i l d r e n o f t h e N ig h t ( 1 8 9 7 ) , C a p t a i n j C r a i g ( 1 9 0 2 ) , The Town Down t h e R i v e r ( 1 9 1 0 ) , The Man j A g a i n s t t h e Sky ( 1 9 1 6 ) , and two v e r s e p l a y s - - Van Z o rn and ; i The P o r c u p i n e — b o t h o f w h ic h w ere p u b l i s h e d s e v e r a l y e a r s J j i j a f t e r t h e y w ere w r i t t e n . L a n c e l o t was p u b l i s h e d i n 1 9 2 0 , j ; t h r e e y e a r s a f t e r M e r l i n , a l t h o u g h i t was f i n i s h e d i n 1 9 1 7 . jR o b in s o n was f o r t y - e i g h t y e a r s o l d when M e r l i n a p p e a r e d and; |w as s t i l l a lm o s t unknow n— e x c e p t f o r t h e b r i e f c r i t i c a l ' I i ; fame t h a t r e s u l t e d fro m T h e o d o re R o o s e v e l t ’s a r t i c l e i n t h e : I A u g u st 12, 1 905, O u t l o o k . L a n ce l o t was p u b l i s h e d w hen Rob*-*, j i n s on was f i f t y - o n e , a y e a r a f t e r a l a r g e g r o u p o f h i s l i t - 1 j e r a r y and p e r s o n a l f r i e n d s h a d t r i e d t o g i v e h im t h e p u b l i c ' ! r e c o g n i t i o n he m e r i t e d by d e v e l o p i n g , p r i m a r i l y u n d e r t h e i i I j d i r e c t i o n o f P e r c y M acK aye, a n a n n i v e r s a r y i s s u e o f t h e l i t e r a r y s e c t i o n o f t h e New Y ork T im es p r a i s i n g h i s w o rk , I | M e r l i n and L a n c e l o t w e re c o n c e i v e d t o g e t h e r an d : 1 , s h o u ld be r e a d t o g e t h e r and i n t h i s o r d e r , f o r t h e y a r e a l i k e i n th e m e , p o l i t i c a l a l l e g o r y , and t o n e ; and t h e y < 15 d e v e l o p c h r o n o l o g i c a l l y t h e n a r r a t i v e o f t h e c o l l a p s e o f Came l o t . T r i s t r a m , on t h e o t h e r h a n d , d i f f e r s i n t o n e f | a n t e d a t e s t h e o t h e r two i n c h r o n o l o g y , and c o n t a i n s no n e ofj t h e p o l i t i c a l a l l e g o r y . N e i t h e r M e r l i n n o r L a n c e l o t s o l d | i w e l l o r r e c e i v e d much c r i t i c a l a t t e n t i o n * —- p a r t i c u l a r l y j f a v o r a b l e c r i t i c i s m . T r i s t r a m , p u b l i s h e d i n 1927, was a l m ost u n b e l i e v a b l y s u c c e s s f u l i n s a l e s and r e c e i v e d a g r e a t • i j am ount o f c r i t i c a l a t t e n t i o n — p a r t i c u l a r l y f a v o r a b l e c r i t - j i c i s m . A f t e r t h e p u b l i c a t i o n o f M e r l i n and L a n c e l o t , R o b - j " J 1 r - 1 - ' r J 1 ■ • ' 1 ■ I i n s a n s t i l l w as a n o b s c u r e p o e t who was known o n ly t o a j l i m i t e d a u d i e n c e and who l i v e d l a r g e l y on t h e g e n e r o s i t y of| ! h i s f r i e n d s and w e l l - w i s h e r s ; a f t e r T r i s t r a m , R o b in s o n was I a n a t i o n a l and e v e n i n t e r n a t i o n a l l i t e r a r y f i g u r e who was i known t o a s u b s t a n t i a l num ber o f l i t e r a t e A m e ric a n s and who t e a r n e d a r a t h e r handsom e l i v i n g by h i s p e n . | j i j On J u l y 3 0 , 1 9 1 6 , R o b in s o n w r o t e fro m P e t e r b o r o u g h t o j | i I M rs. L o u i s V. L e d o u s : j j j I ’ve w r i t t e n 2200 l i n e s o f M e r l i n , and t h e d a r n e d t h i n g i | i s s t i l l g o i n g . I f I ’m n o t 'lo c k e d up i n some endowed j i n s t i t u t i o n b e f o r e t h e m id d le o f A u g u s t , I hope t o h av e i t h e t h i n g done by t h e n . When I h a v e s p e n t a m onth o r s o j i n r e w r i t i n g , i t w i l l be a s good and a s b ad a s I ’m l i k e l y t o make i t . > J * Y e a rs l a t e r , R o b in s o n w as t o t e l l N ancy E v a n s t h a t h i s b e st; I p o e t r y i s t o be fo u n d i n t h e A r t h u r i a n poems and t h a t \ • ^ -S e l e c t e d L e t t e r s o f Edw in A r l i n g t o n R o b i n s o n , comp, : R i d g e l y t o r r e n c e (New' Y o rk , 1 9 4 0 ) , p . 97, h e r e a f t e r c i t e d ; a s L e t t e r s . 1 p M e r l i n " e x p r e s s e s t h e f u l l pow er o f m a t u r i t y , " E s t e l l e i ' K a p l a n , i n h e r 1940 s t u d y o f t h e p h i l o s o p h y o f R o b in s o n , ’ fo u n d M e r l i n " t h e o u t s t a n d i n g p h i l o s o p h i c a l poem o f t h e i » i g r o u p " ^ o f A r t h u r i a n poem s. A l f r e d K reym borg c a l l e d Merli.nl ; i j t h e " f i n e s t o f t h e A r t h u r i a n l e g e n d s . L o u i s U n te r m y e r , i i n h i s 1923 a n t h o l o g y , re m a rk e d t h a t t h e poem b u r n s " w i t h C a n i n t e l l e c t u a l h e a t . " And C h a r l e s C e s t r e , i n h i s e x c e l - j I l e n t c r i t i c a l s t u d y , s t a t e d t h a t "when m a t t e r and m anner t h u s m eet i n e x q u i s i t e a r t i s t r y , c r i t i c i s m i s d i s a r m e d , B u t c r i t i c i s m was h a r d l y d i s a r m e d , Amy L o w e ll e x p r e s s e d " a s l i g h t f e e l i n g o f d i s a p p o i n t m e n t t h a t t h i s r e - t e l l i n g i s n e i t h e r so new n o r so d i f f e r e n t a s one m ig h t h av e e x p e c t e d . " The e n t i r e poem M er1 i n she fo u n d a r a t h e r f e e b l e and e m a s c u l a t e d p i c t u r e * t r i c k e d o u t w i t h c h a rm in g l y r i c a l f i g u r e s , . . . t r u e b u t l i f e l e s s and u n c o n v in c in g * ( p . 64) O " R e c o rd o f an I n t e r v i e w , " Bookman, 7 5 : 6 8 0 , November 1 9 3 2 . | ^ P h i l o s o p h y i n t h e P o e t r y o f E dw in A r l i n g t o n R o b in so n j (M o rn in 'g sid e Helg'h'ts",' New' Y o rk , i9 4 '0 ),' p . 3'7, ^"T he W ise M usic o f R o b i n s o n , " A H i s t o r y o f A m e ric a n P o e t r y : O ur S i n g i n g S t r e n g t h (New York', '1934')',' p ,' '3i 'l ,»' ^A m e ric a n P o e t r y S i n c e 1900 (New Y o rk , 1 9 2 3 ) , p , 5 3 , j ^An I n t r o d u c t i o n t o E d w in A r l i n g t o n R o b in s o n (New Y o rk , 1 9 3 0 ) , p . 6 8 . ~ ^ T e n d e n c ie s i n M odern A m e ric a n P o e t r y (New Y o rk , 1 9 1 7 ) , p . 63. She found the poem structurally weak: A w ork o f a r t s h o u l d ro u n d o u t i t s p a t t e r n somehow* 1’M e r l i n " f a i l s t o s a t i s f y b e c a u s e t h e e n d s r a v e l away w i t h o u t any s u c h r o u n d i n g . ( L o w e ll, p . 65) S t a r k Young fo u n d M e r l i n w eak n o t o n l y i n s t r u c t u r e b u t a l s o i n c l a r i t y : The poem n e e d s o v e r h a u l i n g , a p u l l i n g t o g e t h e r and ! u n d e r s c o r i n g | i t n e e d s a l s o a s h a r p e n i n g o f m eaning f o r ' F a t e , "w hat i s t o b e , " T im e, " t h e t o r c h o f woman" and G a l a h a d ’s G r a i l w h ic h t o g e t h e r " a r e t o l i g h t t h e w o r l d , " and s o o n , i H a r r i e t M onroe, e d i t o r o f P o e t r y , was d i s a p p o i n t e d and evenj b e w i l d e r e d : i n h e r r e v i e w o f M e r l i n , sh e a s k s : Why t r y toj " r e s u s c i t a t e M e r l i n and V i v i a n and K in g A r t h u r , and o t h e r s o f t h a t o v e r -w o r k e d and o v e r - p o e t i c i z e d C a m e lo t c ro w d " ? ^ R o b i n s o n ’s a t t e m p t she fo u n d u n s a t i s f a c t o r y : t h e c h a r a c t e r s "d o n o t show v e r y d i s q u i e t i n g s i g n s o f l i f e * . . . I t I i s t o o l a t e i n t h e day t o t o u c h th e m w i t h o u t m ag ic" . ( p . 2 1 1 ) . She c o n c l u d e s , " I t i s R o b in s o n e x p e r i m e n t i n g \ i a l a T e n n y s o n ” ( p . 2 1 2 ) . And s o t y p i c a l was t h i s "why j I M e r l i n ? " a t t i t u d e t h a t R o b in s o n w r o t e t o L e w is M* I s s a c s on J u l y 1 8 , 1 9 1 7 : I was p r e t t y s u r e t h a t t h e f r e e v e r s e e n t h u s i a s t s w ou ld n o t , o r c o u l d n o t , s e e w h at I was d r i v i n g a t i n M e r l i n . . . . I was t o l d j u s t t h e o t h e r d a y t h a t m o st o f th e ' . s o - c a l l e d r e v i e w e r s c a n make n o t h i n g o f h im and f o r t h a t r e a s o n h av e d o d g ed h im . . , . And I s u p p o s e d t h a t t h e ^ " M e r l i n , " New R e p u b l i c , 1 1 :2 5 1 , S e p te m b e r 2 9 , 1 9 1 7 , j ^"Mr. R o b in s o n i n C a m e l o t ," P o e t r y , 1 0 : 2 1 1 , J u l y 1 9 1 7 , | 18 ! t h i n g w as as c l e a r a s d a y l i g h t I W e l l , I s t i l l t h i n k s o —.j e v e n i f I d o n ' t know w hat t o t h i n k o f t h e human b r a i n . The e d i t o r o f P o e t r y r e a d s t h e V iv ia n p a r t as o w l i s h l y a s i f i t was a n u l t i m a t u m t o G erm an y , an d r e f e r s r a t h e r n a i v e l y t o " M e r l i n 's pompous l o v e - m a k i n g , " w h i l e t h e p o o r d e v i l t h o u g h t a l l t h e tim e t h a t he was r a t h e r am u sin g and p e r h a p s a b i t o r i g i n a l - (L e t t e r s , p p , 1 0 4 -1 0 5 ) L a n c e l o t d i d n o t f a r e much b e t t e r w i t h t h e c r i t i c s , i b u t t h i s tim e R o b in s o n h ad s t e e l e d h i m s e l f : " I 'm s t i l l i i w o n d e r in g j u s t w h a t k i n d o f a f a c e t h e p u b l i s h e r s a r e g o i n g 1 t o make when I t a k e t h e t h i n g t o them " ( L e t t e r s , p , 107)» ! t ! h e t o l d h i s f r i e n d M rs , L ed o u x on A u g u st 2 6 , 1 9 1 7 . A f t e r * p u b l i c a t i o n o f L a n c e l o t i n 1920 ( t h e p u b l i s h e r s h a d b e e n j j s o w ary o f p u b l i c a c c e p t a n c e t h a t t h e y h a d d e l a y e d p u b l i c a t i o n ) , t h e poem was g r e e t e d w i t h a few f a v o r a b l e r e v i e w s — t » | l i k e H e r b e r t G orm an’s , w h ic h d e a l t m a in ly w i t h t h e p o l i t i c a l a l l e g o r y , ^ ® and B a b e t t e D e u t s c h 's s l i g h t r e v i e w , :w h ic h a p p r a i s e d L a n c e l o t as " f i n e r t h a n M e r l i n by a s much i as i t i s c l o s e r t o R o b i n s o n " ^ ’ * '— b u t none seem ed t o t a k e t h e lpoem s e r i o u s l y eno u g h f o r a t h o r o u g h c r i t i c i s m . When R ob- e . |i n s o n w r o te t o M rs. L edoux o n J u n e 2 4 , 1 9 2 0 , h e com m ented, 1 " L a n c e l o t " seem s t o be r a t h e r w e l l e n t r e a t e d th o u g h n o t , j f o r t h e m o st p a r t , w i t h any r e m a r k a b le e x h i b i t i o n o f I i n t e l l i g e n c e - (L e t t e r s , p . 119) I *Yvor W i n t e r s , i n 1922, fo u n d t h e tw o A r t h u r i a n poems t h e ! I ' 10 " L a n c e l o t , " New R e p u b l i c , 2 3 :2 5 9 - 2 6 0 , J u l y 2 5 , 1 920. H " a New L i g h t on L a n c e l o t , " P o e t r y , 1 6 : 2 1 7 , J u l y •1920. 19 ’M e ss i m p o r t a n t s i d e o f Mr, R o b i n s o n ’s w o r k , " ^ a c o n c l u — 1 s i o n e c h o e d tw e n ty y e a r s l a t e r by H o r a c e G re g o ry and Marya Z a t u r e n s k a : ’’The v i r t u e s t h a t R o b in s o n p o s s e s s e d w ere n o t t h o s e t h a t fo u n d t h e i r h a p p i e s t medium i n h i s A r t h u r i a n i c y c l e , E m e r y N e f f fo u n d L a n c e l o t ’’b e t t e r t o l d [ t h a n i M e r l i n j and f r e s h l y r e a l i s t i c i n t h e t r e a t m e n t o f Guine** , v e r e , |[ b u tj to o lo n g d ra w n o u t , " * ^ and C e s t r e fo u n d t h a t w h i l e t h e s c e n e s w e re i n some c a s e s t r e a t e d p o w e r f u l l y th e i r e s t o f t h e poem seem ed ’’r a t h e r a r t i f i c i a l ” (I n t r o d u c t i o n , 1 | p . 2 7 ) , B ru ce W e i r i c k , w r i t i n g i n 1 9 2 4 , was more dam ning! j I t i s u s e l e s s t o d en y i t , m ost o f R o b i n s o n ’s l o n g e r ! I w orks a r e d u l l , , . , Much o f h i s p o e t r y i s b u t t h e ' j w arm in g s o v e r o f E n g l i s h l i t e r a t u r e , o f M a lo ry an d | j T e n n y s o n . j i ! What W e i r i c k c o n s i d e r e d b u t "w arm in g s o v e r " o f M alo ry j i i |a n d T e n n y so n g r i p p e d R o b in s o n a g a i n j u s t a y e a r a f t e r j [ W e i r i c k ’s c r i t i c a l s u r v e y ! on J u n e 1 0 , 1 9 2 5 , he w r o te t o | ^ i ILedoux fro m P e t e r b o r o u g h ! ! I came down h e r e w i t h e v e r y i n t e n t i o n o f w r i t i n g some ' ; s h o r t t h i n g s f o r a new b o o k , b u t my o l d f r i e n d T r i s t r a m , : i ^ " A C o o l M a s t e r , " P o e t r y , 1 9 :2 8 5 , F e b r u a r y 1 9 2 2 , J 1 n ' ! • LJ"The V e in o f Comedy i n E , A, R o b i n s o n ’s P o e t r y , " j I A m e ric a n Bookman, I t 5 9 , F a l l 1 9 4 4 , | 1 ^ ^ d w i n A r l i n g t o n R o b in s o n (New Y o rk , 1 9 4 8 ) , p p . 196+- i 197, i ^ F r o m W hitman t o S a n d b u rg ! A C r i t i c a l S tu d y (New Y o rk , 1 9 2 4 ),' 'p. 1 8 6 , ! i whom I have b e e n f i g h t i n g o f f f o r some f i v e y e a r s , fi*« n a l l y g o t me by t h e t h r o a t an d r e f u s e d t o l e t g o . (L e t t e r s « P . 143) W h ile R o b in s o n h a d b e e n " f i g h t i n g o f f " t h e T r i s t r a m s t o r y f o r some f i v e y e a r s ( t h a t w o u ld mean s i n c e t h e p u b l i c a t i o n L a n c e l o t i n 1 9 2 0 ) , t h a t s t o r y h ad i n t e r e s t e d him f o r more t h a n f i v e y e a r s ; f o r t h e s t o r i e s o f M e r l i n , L a n c e l o t , and T r i s t r a m h ad a p p a r e n t l y b e e n c o n s i d e r e d a s a t r i l o g y . In J u l y o f 1 9 1 7 , a f t e r t h e p u b l i c a t i o n o f M e r l i n and w i t h L a n c e l o t s t i l l i n p r o g r e s s , R o b in s o n h a d w r i t t e n t o I s a a c s t I s h o u l d l i k e t o w r i t e a T r i s t r a m , b u t ow ing t o my pre** c a r i o u s m ethod ( p e r h a p s m eth o d i s n ’t q u i t e t h e w o rd ) o f e x i s t e n c e , I am n o t s u r e t h a t I m ig h t n o t be on s a f e r g ro u n d i f I w e re t o go t o w o rk on a n o t h e r b o o k l i k e "Man" pThe Man A g a i n s t t h e S k y -]. I s h a l l know more a b o u t t h i s when I h av e L a n c e l o t o f f my h a n d s* (L e t t e r s , p . 105) He h a d f o u n d , h o w e v e r, t h a t n e i t h e r t h e p u b l i s h e r n o r t h e r e a d e r s w ere r e a d y f o r L a n c e l o t , l e t a lo n e T r i s t r a m * T h e p u b l i s h e r h ad d e l a y e d t h e p u b l i c a t i o n o f L a n c e l o t f o r two y e a r s , a n d R o b in s o n had d e l a y e d T r i s t r a m f o r a n o t h e r f i v e y e a r s . T r i s t r a m was f i n i s h e d a f t e r tw o summers o f tre m e n d o u s e f f o r t : " I h a v e f i n i s h e d T r i s t r a m , " h e w r o te t o L e d o u x on S e p te m b e r 2 , 1 9 2 6 , " a n d am now r e a d y t o go t o s l e e p l i k e a w o o d ch u ck f o r a b o u t a month b e f o r e I em erge and s e e p e o p le a g a i n " (L e t t e r s , p , 1 4 8 ) . T h e n came t h e s u r p r i s i n g c h a i n o f e v e n t s , b e g i n n i n g w i t h t h e s e l e c t i o n o f t h e poem a s a d i v i d e n d f o r t h e L i t e r a r y G u i l d ’s B o o k - o f « th e Month C lu b and e n d i n g w i t h t h e a r r i v a l o f R o b i n s o n ’s p u b l i c fame as a l i t e r a r y f i g u r e and w i t h t h e r e a l i z a t i o n o f f i n a n c i a l s e c u r i t y f o r t h e f i r s t t im e i n h i s l i f e . P u b l i c s a l e s , w h ic h n e t t e d $ 1 4 ,5 3 5 f o r 5 7 ,4 7 5 c o p i e s i n t h e f i r s t y e a r a l o n e ( N e f f , p , 2 2 3 ) , a t f i r s t a s t o u n d e d , t h e n d e l i g h t e d , ; I and f i n a l l y w o r r i e d t h e p o e t . P e o p le who h a d n e v e r h e a r d o f R o b in s o n b e f o r e May 1 9 2 7 , e v e n th o u g h h e h a d b e e n reco g ~ j n i z e d by h i s p e e r s and by l e a d i n g c r i t i c s s i n c e 1919 a s A m e r i c a 's l e a d i n g p o e t , fo u n d T r i s t r a m a d e l i g h t and sur** ! p r i s e . But T r i s t r a m was i n some ways a n e v e n g r e a t e r s u r p r i s e ■ i t o t h o s e who had known R o b i n s o n ’s e a r l i e r w o rk , F r e d e r i c j C a r p e n t e r , a l t h o u g h h i s s tu d y was n o t made u n t i l 1 9 3 8 , \ s t a t e d t h e r e a s o n f o r t h e s u r p r i s e : How c o u ld a m o r a l l y an d i n t e l l e c t u a l l y d i s c i p l i n e d p o e t i n h i b i t e d a s R o b in s o n s u d d e n ly w r i t e a poem d e s c r i b i n g v i v i d l y and c e l e b r a t i n g w h o l e h e a r t e d l y one o f t h e m ost p a s s i o n a t e lo v e s t o r i e s i n a l l l i t e r a t u r e ? Not o n l y t h a t — how c o u ld he a c h i e v e w i t h i t h i s g r e a t e s t triumph?-*-^ R o b in s o n h i m s e l f had f o r e s e e n t h e r e a c t i o n : he w r o t e t o M rs. Ledoux on A u g u st 3 , 1 9 2 5 , s h o r t l y b e f o r e he h a d f i n i s h e d t h e poem: j The key and c o l o r [ o f T r i s t r a m ! a r e a l t o g e t h e r d i f f e r e n t fro m t h o s e o f M e r l i n and L a n c e l o t and may c a u s e some r e a d e r s t o s u s p e c t t h a t I ’m g e t t i n g a l i t t l e t i r e d o f h e a r i n g t o o much a b o u t my New E n g la n d r e t i c e n c e * —w h ic h may be p r e t t y t r u e . ( L e t t e r s , p , 146) 12 ’’T r i s t r a m t h e T r a n s c e n d e n t , " New E n g la n d Q u a r t e r l y , 1 1 :5 0 1 , S e p te m b e r 1938, 2 2 : T r i s t r a m c e r t a i n l y f a r e d b e t t e r w i t h t h e c r i t i c s t h a n d i d e i t h e r o f t h e two e a r l i e r A r t h u r i a n poem s, C e s t r e fo u n d t h a t i n T r i s t r a m R o b in s o n h a d " s t r u c k t h e t o p m ark o f b e a u t y an d p a t h o s (jandj c l a s s i c a r t i s t r y " ( I n t r o d u c t i o n , p . 1 2 ) ; he was so moved as t o h a i l t h e poem a s " R o b in s o n * s ; m a s t e r p i e c e " ( p . 9 8 ) , B en Ray Redm an, i n h i s 1927 r e v i e w i n t h e New Y o rk H e r a l d T r i b u n e , c a l l e d T r i s t r a m " t h e great**! r r--r- t r -n- ariir-■ — r i '» nr . n r nrnrnr » ' r » 1 *3 e s t poem t h a t h a s y e t b e e n w r i t t e n i n A m e r i c a " ; and Mark Van D o re n p r a i s e d i t f o r i t s " s i n g l e n e s s and s p e e d o f 1 a c t i o n . " ^ T e n y e a r s l a t e r , C a r p e n t e r fo u n d i t , m ore t h a n a f i n e n a r r a t i v e ; , , , i t loom s a l r e a d y a s a I la n d m a rk i n m odern A m e ric a n l i t e r a t u r e , and a l s o a chal*- i ; le n g e t o c r i t i c i s m , ( p , 501) j ; ■ i [ Y e t , b o t h a t t h e tim e o f p u b l i c a t i o n and i n t h e y e a r s I I j t h a t h a v e f o l l o w e d , c r i t i c s h a v e a t l e a s t r i s e n t o t h a t j J c h a l l e n g e , H a r r i e t M onroe-— who i n 1917 h a d e x p r e s s e d dis** ! : a p p o in tm e n t t h a t R o b in s o n h a d t u r n e d t o t h e A r t h u r i a n le g e n d w i t h M e r l i n and h ad s t a t e d a hope t h a t he w o u ld ! i j . n e v e r a g a i n u s e t h e m a t e r i a l - a p p r a i s e d T r i s t r a m " a f i n e r ! ---------------- j lw o rk t h a n e i t h e r M e r l i n o r L a n c e l o t , b u t she w as s u r e ; t h a t i t w o u ld n o t " r a n k u l t i m a t e l y among h i s b e s t w o rk s " i j ( p , 1 6 7 ) . T w e n ty -o n e y e a r s l a t e r , N e f f came t o t h e same j ! c o n c l u s i o n : i I 1 ^ ■^Q uoted by C a r p e n t e r , p . 5 0 2 , ^ " T r i s t r a m , " Forum , 7 8 : 3 1 3 , A u g u st 1927. ^ " O n F o r e i g n G r o u n d ," P o e t r y , 3 1 :1 6 7 , D ecem ber 1 9 2 7 , ■ 23 T o s a y t h a t R o b in s o n h a s w r i t t e n t h e b e s t T r i s t r a m poem i n E n g l i s h , w h i l e t r u e , i s n o t t h e b e s t i n t r o d u c t i o n t o B r i t i s h r e a d e r s f f o r i t s r i v a l s , T r i s t r a m o f L y o n e ss e and ’’T r i s t r a m and I s e u l t , ” a r e no more t h e b e s t Sw m » b u r n e a n d t h e b e s t A r n o ld t h a n T r i s t r a m i s t h e b e s t R o b in s o n , ( p . 26 2 ) And Y vor W i n t e r s , i n h i s c r i t i c a l s t u d y o f R o b in s o n two y e a r s e a r l i e r t h a n N e f f ’s s t u d y , h a d fo u n d T r i s t r a m l i t t l e 1.6 more t h a n ” a p o p u l a r lo v e s t o r y , ” an d h a d e x p r e s s e d t h e v ie w t h a t ’’R o b i n s o n ’ s lo n g poems a r e m o s t l y u n s u c c e s s f u l and r e p r e s e n t a w a s te o f e f f o r t ” (p# 1 4 3)* •^E dw in A r l i n g t o n R o b in s o n ( N o r f o l k , C onn*, 1 9 4 6 ) , P. 86. CHAPTER I I I NARRATIVE STRUCTURE, NARRATIVE TECHNIQUES, AND WOMAN*S PLACE IN THE NARRATIVE B e c a u se much o f t h e v a l u e o f a lo n g poem i s c l o s e l y I r e l a t e d t o t h e a c t i o n o f t h e n a r r a t i v e and b e c a u s e charac* . | t e r s a r e r e l a t e d p r i m a r i l y t h r o u g h t h i s a c t i o n * s u c h v a l u e ' and s u c h r e l a t i o n s h i p s c a n n o t be u n d e r s t o o d u n l e s s t h e | a c t i o n o f t h e e n t i r e poem i s h e l d m ore o r l e s s c l e a r l y i n , m ind. F o r t h i s r e a s o n , some summary o f t h e A r t h u r i a n poems' \i> n o t o n l y d e s i r a b l e b u t n e c e s s a r y . j i M e r l i n was p u b l i s h e d i n 1 9 1 7 and was t h e f i r s t poem by| R o b in s o n o f more t h a n medium l e n g t h ; i t w a s , i n a d d i t i o n , j » ! h i s f i r s t a t t e m p t a t w h at m ig h t b e c a l l e d f o r m a l n a r r a t i v e , ! ; j ! The m ain i n t e r e s t o f t h i s n a r r a t i v e i s t h e f a l l o f A r t h u r ’s , 1 i • kingdom ; b u t s o f a r a s t h e s t r u c t u r e i s c o n c e r n e d , t h i s j i n t e r e s t m e r e ly p r o v i d e s a fra m e f o r M e r l i n ’s l o v e a f f a i r I w i t h V i v i a n . 1 I ' i I n t h e f i r s t s e c t i o n * G aw aine and D a g o n e t d i s c u s s t h e ru m o r t h a t M e r l i n h a s r e t u r n e d t o C am elot fro m B r o c e l i a n d e , T l 1 ) w h e re he h ad b e e n ’’b u r i e d , and a l i v e . ” T hey b o th t a l k ^ i n d i r e c t l y o f t h e d a n g e r s t h a t c h a r g e t h e a tm o s p h e re o f i i * i ■ ^Edwin A r l i n g t o n R o b in s o n , C o l l e c t e d Poems (New Y o rk , | 1 9 3 7 ) , p . 2 3 9 . A l l r e f e r e n c e t o R o b i n s o n ’s p o e t r y , u n l e s s : o t h e r w i s e i n d i c a t e d , i s t o t h i s t e x t . * 1 25j C a m e lo t. N e i t h e r s p e a k s d i r e c t l y t o t h e p r o b le m o f t h e im p e n d in g f a l l o f t h e k in g d o m , b u t e a c h i s k e e n l y aw are o f 1 i t . Gaw aine s a y s t h a t ,,T h e r e , s more a f o o t and i n t h e a i r t o - d a y / T h an w h at i s good f o r C a m e lo t” ( p . 2 3 6 ) . He s p e a k s I o f M e r l i n ’s r e t u r n s a n s b e a r d a s one o f t h e ’’l e s s e r t e r - r o r s ” and s a y s t h a t he h a s h e a r d t h a t M e r l i n ’’w e a rs t h e v a l i a n c e o f a n a g e l e s s y o u t h / Crowned w i t h t h e g l o r y o f e t e r n a l p e a c e ” ( p . 2 3 8 ) . To t h i s D a g o n e t r e p l i e s ; ”No, i t : i s n o t f o r p e a c e t h a t M e r l i n com es” n o r i s i t ”y e t f o r sud-J d e n w a r ” ( p . 2 3 9 ) . G aw aine a g r e e s t h a t C a m e lo t i s n o t t h e ' I p l a c e f o r one who w a n ts p e a c e . j The b a c k g ro u n d o f M e r l i n ’s l e a v i n g C am elo t t o go t o ; i i V i v i a n some y e a r s e a r l i e r i s d i s c l o s e d , and t h e s c e n e e n d s j I w i t h G a w a in e ’s d a r k f o r e b o d i n g : i i I No, I l i k e n o t t h i s d a y . I ; T h e r e ’s a c l o u d com ing o v e r C a m e lo t , | L a r g e r t h a n any t h a t i s i n t h e s k y , - - ' Or M e r l i n w o u ld s t i l l be i n B r i t t a n y , 1 W ith V i v i a n and t h e v i o l s . I t ’s a l l t o o s t r a n g e , (P- 241) j G aw ain e, h e r e as i n L a n c e l o t , i s c o n c e i v e d a s t h e j I g r a c e f u l , i n t e n s e , c l e v e r f i g u r e o f M a lo ry and T e n n y s o n ; ! ' ! ! b u t D ag o n et i s w h o lly R o b in s o n ; he i s u n l i k e a n y t h i n g i n j M a lo ry o r T e n n y s o n . He i s a m a tu re man, n e i t h e r f o o l i s h ; n o r c h i l d i s h ; he i s w i t t y , p e r c e p t i v e , t r a g i c — r e s e m b l i n g ' 1 m o st o u r c o n te m p o r a ry ’’s i c k ” c o m e d ia n , j I n t h e s e c o n d s e c t i o n , Lam orak and B e d iv e r e d i s c u s s j | t h e same s u b j e c t b u t s p e a k f r a n k l y o f L a n c e l o t and Modred ■ 2 6 and G u i n e v e r e . R o b in s o n f o l l o w s M a lo ry i n m aking M odred A r t h u r ' s s o n and g i v e s M odred a p r im a r y f u n c t i o n i n b r i n g in g on t h e c a t a s t r o p h e . L a m o r a k 's q u i c k su m m atio n i n d i c a t e s b o t h t h i s and M e r l i n ' s e a r l y w a r n in g t o t h e k i n g : The s t o r y i s t h a t M e r l i n w a rn e d t h e k in g Of w h a t 's come now t o p a s s ; a n d I b e l i e v e i t * And A r t h u r , he b e i n g A r t h u r an d a k i n g , Has made a more p e r n i c i o u s m ess t h a n o n e , W e 're t o l d , f o r b e i n g s o g r e a t and a m o ro u s: I t ' s t h a t unw holesom e and i n c l e m e n t cub Young Modred I ' d s e e f i r s t i n h e l l b e f o r e I ' d h an g t o o h i g h t h e Q ueen o r L a n c e l o t ! The K in g , i f one may s a y i t , s e t t h e p a c e , And w e 'v e two s t r a p p i n g b a s t a r d s h e r e t o p ro v e i t , Young B o r r e , h e ' s w e l l e n o u g h ; b u t a s f o r M odred, ' I s q u ir m a s o f t e n a s I lo o k a t h im , ! And t h e r e a g a i n d i d M e r l i n w arn t h e K in g , ! The s t o r y g o e s a b r o a d ; and I b e l i e v e i t . ( p . 2 4 3 ) | , B e d i v e r e f e e l s , h o w e v e r, t h a t L a n c e l o t h a s g r e a t l y w ronged i I ' t h e K ing and t h e k in g d o m , b u t Lam orak s a y s t h a t t h e kingdom ' ; j i w i l l n o t f a l l b e c a u s e o f t h e a c t i o n s o f a f o o l i s h woman. j iA t t h i s p o i n t , Kay e n t e r s a n d ' s t a t e s t h a t M e r l i n h a s r e t u r n e d " B e c a u se t h e K ing now h a s a d e s p e r a t i o n / More s t r o n g i upo n him t h a n a w om an's n e t / Was o v e r M e r l i n " ( p . 2 4 6 ) , i L am orak a g a i n s a y s t h a t t h e K ing s h o u l d f o r g e t t h e Q ueen and lo o k t o Modred and t h e k in g d o m . B e d i v e r e h a s a f u l l e r i r e a l i z a t i o n o f t h e " w e ir d r e g i o n o f m a n 's l o v e " ( p . 247) I ] ja n d s e e s " t h e shadow o f t h e e n d " ( p , 2 4 8 ) . Kay a g r e e s ; h e ,; ! t o o , s e e s t h e com ing o f t h e e n d , f o r " t h e K ing i s d e a d ; / The man i s l i v i n g , b u t t h e K ing i s d e a d . / The w h e e l i s b r o k e n " (p . 2 4 8 ) . ; 27 I n t h e t h i r d s e c t i o n , M e r l i n and A r t h u r t a l k * A r t h u r s e e s a M e r l i n o f " l o s t a u t h o r i t y / Long f a d e d , and u n c o n s c i o n a b l y g o n e " ( p . 2 4 9 ) . A r t h u r f e e l s t h a t M e r l i n h a s l o s t h i s p ow ers i n B r i t t a n y and now b e l o n g s more t o V iv ia n t h a n t o C a m e lo t. M e r l i n t e l l s t h e k i n g t o f o r g e t L a n c e l o t and G u in e v e r e and t o p r e p a r e f o r w ar w i t h M odred. He a g a i n re m in d s t h e K ing t h a t h e m ust n o t s t a r v e f o r a q u e e n ’s lo v e t h a t n e v e r w a s : "Y our Q ueen i s now y o u r k in g d o m , a n d here-* a f t e r / L e t no man t a k e i t fro m y o u , o r you d i e " ( p . 2 5 3 )* A r t h u r knows t h i s t o be t r u e ; b u t he i s h a u n t e d p a r t i c u l a r l y by M e r l i n ’s w o r d s , "The l o v e t h a t n e v e r w as" (p* 2 5 3 ) . I The f o u r t h s e c t i o n g i v e s a f l a s h b a c k o f t e n y e a r s , i j c o v e r i n g M e r l i n ’s l i f e w i t h V i v i a n — h i s " l i v i n g g r a v e i n ■ B r i t t a n y " ( p . 2 6 0 ) . M e r l i n a r r i v e s i n B r o c e l i a n d e , an e l y s i a n w i l d e r n e s s w i t h a g r e a t i r o n g a t e t h a t c l a n g s s h u t b e h i n d h im , and i s r e c e i v e d by V i v i a n , w hose b e a u t y and i j g r a c e "Made p a s s i n g t r a s h o f e m p i r e s " (p* 2 6 3 ) , The s e c - j t i o n e n d s p l a y f u l l y , w i t h t h e c o n v e r s a t i o n a l s p a r r i n g o f t h e tw o a t t h i s f i r s t m e e t i n g and w i t h t h e p r o m is e o f rom ance t o f o llo w * i The lo v e i d y l i s p r e s e n t e d i n S e c t i o n F i v e , s t a r t i n g on t h e e v e n i n g o f M e r l i n ’s a r r i v a l w i t h h i s b e i n g s h o r n o f h i s b e a r d and r o b e d i n gay c l o t h e s and w i t h h i s b e i n g I d i n e d by t h e d e l i g h t f u l V i v i a n ; i t c a r r i e s t h r o u g h t e n y e a r s o f i n s u l a t e d lo v e i n p a r a d i s e and e n d s w i t h . 28 D a g o n e t 's a r r i v a l from C a m e lo t w i t h A r t h u r ’s r e q u e s t t o i r e t u r n t o s a v e t h e k in g d o m . S e c t i o n S i x c a r r i e s t h e s t o r y f o r w a r d a g a i n w i t h Mer l i n ' s r e t u r n t o V i v i a n from C a m e lo t. He i s now i l l a t e a s e i n B r i t t a n y ; F a te i s c l o s i n g i n on t h e i r lo v e and t h e i r tim e t o g e t h e r . M e r l i n ’s c o n c e r n f o r A r t h u r now comes b e - tw e e n him and V i v i a n . V i v i a n n e i t h e r u n d e r s t a n d s n o r w i s h e s t o u n d e r s t a n d t h i s c o n c e r n and i s c o n te m p tu o u s o f M e r l i n ’s e x p l a n a t i o n t h a t A r t h u r ’ s kingdom i s c r u m b lin g b e - c a u s e i t h a d b e e n b u i l t on s i n . She s e e s o n l y t h a t M e r l i n t i s no l o n g e r h i s own m a s t e r ; y e t , n e i t h e r sh e n o r B r o c e - ! l i a n d e n o r C am elo t i s t h a t m a s t e r , M e r l i n r e c o g n i z e s t h e , m a s t e r as C h an g e , and h e l e a v e s a g a i n f o r C a m e lo t. I I I n t h e s e v e n t h , and l a s t , s e c t i o n , B e d iv e r e and Ga- i w a in e l o o k down fro m M e r l i n ’ s R o ck , w h e re t h e s t o r y h a d ; b e g u n , o n C am elo t and t a l k o f t h e c i v i l w ar a l r e a d y b e g u n . i I j L a n c e l o t h a s c a r r i e d o f f G u in e v e r e an d h a s k i l l e d s e v e r a l men, i n c l u d i n g G a w a in e ’s b r o t h e r s , i n m aking h i s e s c a p e , I ; B e d iv e r e a s k s G aw aine t o f o r g e t t h e l o s s o f h i s b r o t h e r s i i ja n d t o h e l p A r t h u r s a v e t h e kingdom by u r g i n g him t o f o r - i j g e t L a n c e l o t and t u r n h i s a t t e n t i o n t o M odred. D ag o n e t ; a p p e a r s and sums up t h e s i t u a t i o n . G aw aine and B e d iv e r e J , l e a v e . D a g o n e t s p e a k s o f t h e h a r v e s t i n g o f c h a n g e , grown fro m t h e s e e d s o f h i s t o r y an d f e r t i l i z e d by t h e b l o o d o f man. M e r l i n e n t e r s . He i s o l d now, h a v i n g e n t e r e d Time w i t h V i v i a n . He and D a g o n e t s p e a k o f t h e G r a i l , t h e " L i g h t 1 w h e r e i n men saw t h e m s e l v e s / I n one a n o t h e r a s t h e y m ig h t b eco m e” ( p . 3 0 6 ) , and o f t h e " t o r c h o f w om an," w h ic h w i t h ' t h e G r a i l " i s y e t t o l i g h t t h e w o r l d " ( p . 307)# D a g o n e t a s k s M e r l i n t o go down i n t o C am e lo t w i t h him t o a i d t h e j K in g , b u t M e r l i n c o n v i n c e s him t h a t i t i s t o o l a t e t o h e l p A r t h u r o r t h e k in g d o m . T hey l e a v e , "And t h e r e was a d a r k - n e s s o v e r C a m e lo t" (p« 3 1 4 ) . M e r l i n i s e s s e n t i a l l y a t w o - p a r t s to r y * —t h e f a l l o f K ing A r t h u r ’s kin g d o m and t h e lo v e s t o r y o f M e r l i n and | i V i v i a n . The o n l y r e a l c o n n e c t i o n b e tw e e n t h e two p a r t s i s i < t h a t M e r l i n .’s c o n c e r n f o r A r t h u r ’s t r a g e d y b r i n g s a n end to! J j h i s a f f a i r w i t h V i v i a n . T h e r e i s some i m p l i c a t i o n t h a t I I ■ ! j M e r l i n ’s lo v e f o r V i v i a n d i v e r t s o r d e l a y s h i s p r o p e r a t - * I i j t e n t i o n t o h e l p A r t h u r i n h i s p l i g h t and s a v e t h e k in g d o m , { ! i i b u t t h e s t r o n g f a t a l i s m o f t h e poem i n d i c a t e s t h a t t h e j ’ c o l l a p s e i s i n e v i t a b l e * T h e re i s , t h e n , no c a u s a t i v e r e - \ i I ; l a t i o n s h i p b e tw e e n V i v i a n a n d A r t h u r ’ s c o l l a p s e ; t h e r e i s , I i t h o u g h , s u c h a r e l a t i o n s h i p b e tw e e n A r t h u r ’s k in g d o m and t h e c o l l a p s e o f t h e lo v e a f f a i r . j M e r l i n i s p o r t r a y e d by R o b in s o n n o t a s t h e m y s t e r i o u s , o l d m a g i c i a n o f M a lo ry o r t h e s e n i l e , s t o c k f i g u r e o f T e n n y s o n , b u t as a n i n t e l l i g e n t man i n h i s m id d le a g e . H is i " m a g ic " a p p e a r s t o be m a in ly t h e c l e a r f o r e s i g h t o f i n t e l l i g e n c e , w h ic h i s g i v e n a s u p e r n a t u r a l a i r by t h e f a t a l i s m w h ic h i s t h e c e n t r a l them e* M e r l i n s e e s t h a t man— i m p e r f e c t man* who i s m i r r o r e d i n A r t h u r — makes c e r t a i n d i s a s t e r s i n e s c a p a b l e b e c a u s e he h a s l i m i t e d under** s t a n d i n g . V i v i a n i s n o t t h e e n c h a n t r e s s o r w i t c h o f M a lo ry a n d i s c e r t a i n l y n o t t h e w an to n o f T e n n y so n b u t i s a b e a u t i f u l , w i t t y , c a l c u l a t i n g ( th o u g h n o t c o l d l y ) woman o f t w e n t y - f i v e who f a l l s i n lo v e w i t h M e r l i n an d h e w i t h h e r * He g o e s t o h e r c a s t l e a t B r o c e l i a n d e and w ith d r a w s fro m t h e w o r l d , e x p l a i n i n g t h e " l i v i n g g r a v e " o f M a lo r y . G u in e v e r e i s g i v e n a d i r e c t r e l a t i o n t o t h e a c t i o n . tH er a f f a i r w i t h L a n c e l o t i s c e n t r a l t o t h e d e s t r u c t i o n o f jth e k in g d o m , and t h e many r e f e r e n c e s t o G u in e v e r e and L a n c e l o t c a r e f u l l y f o r e s h a d o w t h e L a n c e l o t poem ; i n f a c t , 'M e r l i n and L a n c e l o t a r e , i n some w a y s , m ore c l e a r l y i n t e r - .r e l a t e d t h a n a r e t h e tw o p a r t s o f M e r l i n . ' L a n c e l o t was p u b l i s h e d i n 1920 b u t was f i n i s h e d j u s t a 'y e a r a f t e r M e r l i n . I t i s a b e t t e r c o n s t r u c t e d n a r r a t i v e (t h a n i s M e r l i n f i n d e e d , Yvor W i n t e r s a s s e s s e s i t " t h e b e s t c o n s t r u c t e d o f R o b i n s o n ’ s lo n g poems and . * . one o f t h e jmost p o w e r f u l l y c o n s t r u c t e d l o n g poems i n E n g l i s h * " ^ T h e re !i s a good d e a l l e s s a l t e r a t i o n o r i n v e n t i o n t h a n i n M e rlin * 2 E dw in A r l i n g t o n R o b in s o n ( N o r f o l k , C o n n ., 1 9 4 6 ), p . 6 3 . A lm o st t h e e n t i r e s t o r y c a n be fo u n d i n b o o k s t w e n ty and tw e n t y - o n e o f M a lo ry . L a n c e l o t o p en s w i t h G aw aine and L a n c e l o t t a l k i n g i n t h e g a r d e n a t C a m e lo t. L a n c e l o t t e l l s G aw aine t h a t he i n - t e n d s t o l e a v e C a m e lo t. B e c a u se o f h i s c o n c e r n f o r Modred* L a n c e l o t i s c o l d to w a r d G a w a in e . G awaine i s l i g h t and j e s t i n g , m aking l i t t l e o f M odred*s a m b i t i o n and A g r a v a in e * s g o s s i p ; b u t L a n c e l o t t e l l s him t h a t t h e r e i s m ore t h a n j u s t g o s s i p i n C am elo t and t h a t he i s s u r e t h a t i f he s t a y s t h e r e w i l l be '’D e s t r u c t i o n , d i s s o l u t i o n , an d d e s o l a t i o n ” ( P oem s, p . 3 6 8 ) . He t e l l s G aw aine t h a t h i s way l e a d s t o I t h e L i g h t o f r e l i g i o u s c o n t e m p l a t i o n . i T h e i r c o n v e r s a t i o n i s i n t e r r u p t e d by t h e e n t r a n c e o f j t h e b l u e - e y e d , g o l d e n - h a i r e d G u i n e v e r e , G aw aine l e a v e s * I i ! 1 I |The s e c o n d s e c t i o n i s t h e n a c o n v e r s a t i o n b e tw e e n G u i n e v e r e [ : and L a n c e l o t . G u in e v e r e i s f e a r f u l t h a t Gaw aine knows o f ‘ j t h e i r lo v e and t h a t t h e y a r e a t h i s m e rc y , b u t L a n c e l o t i ■says t h a t Gaw aine i s h i s f r i e n d and t h a t he d o e s n o t f e a r I f 'h im . J i ( G u i n e v e r e , a t t h i s p o i n t , i s p o r t r a y e d as a b e a u t i f u l , ! i ' i s e l f — c e n t e r e d , s h a l l o w woman who d o e s n o t s e e t h e d a n g e r o f ! j t h e s i t u a t i o n and who d o e s n o t w a n t t o l o s e h e r l o v e r . She; i c a n n o t u n d e r s t a n d w hat t h e r e i s t o f e a r i f G aw aine i s n o t , t o be f e a r e d . L a n c e l o t e x p l a i n s t h a t h i s f e a r i s f o r h e r ; , he t e l l s h e r t h a t he i s l e a v i n g C a m e lo t, w h ic h a c t i o n w i l l i le a v e h e r v u l n e r a b l e t o t h e l u s t f u l M o d re d , G u i n e v e r e , h o w e v e r, i g n o r e s t h e d a n g e r and i n v i t e s L a n c e l o t t o h e r bedroom t h a t n i g h t s i n c e t h e k in g i s g o in g away on a hunt-* in g t r i p . The t h i r d s e c t i o n b e g i n s w i t h a m onologue sp o k e n by L a n c e l o t , s u m m a riz in g t h e m o t i v a t i n g s i t u a t i o n o f t h e poem: nSo t h e r e i s h e r e b e tw e e n me and t h e d a r k / Some t w i l i g h t l e f t * ' ( p . 3 8 2 ) . A lth o u g h no s u c h t h o u g h t h a s y e t come t o G u i n e v e r e , L a n c e l o t i s c o n s i d e r i n g d o in g now j u s t w h at b o th d o l a t e r — a b a n d o n in g lo v e f o r a l i f e o f r e l i g i o u s c o n tem p l a t i o n ( t h e l i g h t o f t h e G r a i l f o r L a n c e l o t ) , L a n c e l o t i s now, h o w e v e r, t o r n b e tw e e n h i s two d e s i r e s : What h av e I s e e n t h a t I m ust l e a v e b e h i n d So much o f h e a v e n and e a r t h t o b u r n i t s e l f Away i n w h i t e and g o l d , u n t i l i n tim e T h e re s h a l l be no more w h i t e and no more g o ld ? I c a n n o t t h i n k o f s u c h a tim e, a s t h a t ; I c a n n o t — y e t I m u s t. , , , ( p . 28 3 ) He c a n n o t b r i n g h i m s e l f t o l e a v e t h e "d im w o r l d ” j u s t y e t : B e c a u se a Queen i s i n i t and a K ing Has gone away t o some p l a c e w h ere t h e r e * s h u n t i n g — C a r l e o n o r C a r l i s l e J ( p . 38 3 ) T h u s , he s u f f e r s a r a t h e r e x q u i s i t e t o r t u r e : God, w h at a r a i n o f a s h e s f a l l on him Who s e e s t h e new and c a n n o t l e a v e t h e o ld ^ ( p . 385) The f o u r t h s e c t i o n d i s c l o s e s t h a t t h e K in g h a d no t gone h u n t i n g i n C a r l e o n o r C a r l i s l e b u t , f e i g n i n g i l l n e s s , h ad r e t u r n e d a t m i d n i g h t t o t r a p t h e l o v e r s . The s i t u a t i o n i s d i s c l o s e d t h r o u g h a c o n v e r s a t i o n b e tw e e n Gaw aine 33 and B e d i v e r e , Gaw aine b la m e s h i m s e l f f o r t a k i n g h i s c o n v e r s a t i o n i n t h e g a r d e n w i t h L a n c e l o t so l i g h t l y and f o r l e a v i n g L a n c e l o t a lo n e w i t h G u i n e v e r e : i A few r i g h t w o rd s O f m in e , i f s a i d w e l l , m ig h t h av e b e e n e n o u g h . T h a t s h a l l I n e v e r know, I s h a l l know o n ly T h a t i t was I who la u g h e d a t L a n c e l o t When he s a i d w hat la y h e a v i e s t on h i s h e a r t . By now he m ig h t b e f a r away fro m h e r e , And f a r t h e r fro m th e w o r l d . But t h e Q ueen came; The Q ueen cam e, and I l e f t them t h e r e t o g e t h e r ; And I la u g h e d as I l e f t th e m , * * , • • * • • • '# * •# 0 ■ + •* ' * ' * -0 # • * + ♦ # • • And I ’m t o l i v e as lo n g a s I ’m t o w onder What m ig h t h a v e b e e n , h ad I n o t b e e n ^ - m y s e l f . ( p , 388) The k in g e n t e r s , c o m p l e t e l y d e f e a t e d by t h e d i s c o v e r y . H is s p e e c h i n d i c a t e s b o t h h i s e m o t i o n a l c o l l a p s e and t h e j i n f o r m a t i o n t h a t L a n c e l o t h a s e s c a p e d , k i l l i n g tw e lv e men, .C o lg r e v a n c e and A g r a v a in e among th e m , and t h a t t h e Q ueen j !by law m ust be b u r n e d a t t h e s t a k e , a s e n t e n c e t h a t A r t h u r I b e l i e v e s i s t a k i n g p l a c e a t t h i s t i m e . The K in g , i m a g i n i n g I |G u in e v e r e i n t h e f i r e , s u f f e r s e m o t i o n a l d i s i n t e g r a t i o n , ( j S e c t i o n F iv e c o n t i n u e s t h e s c e n e , w h ic h i s i n t e r r u p t e d |by s o u n d s o f f i e r c e b a t t l e , f o l l o w e d by t h e e n t r a n c e o f S i r • L u c ia n , who r e l a t e s t h a t L a n c e l o t and a g ro u p o f k n i g h t s (have c a r r i e d o f f t h e Queen and h a v e k i l l e d many men, among |them t h e unarm ed b r o t h e r s o f G a w a in e , G a r e t h and G a h e r i s , b o t h o f whom w ere i n a d v e r t e n t l y k i l l e d by L a n c e l o t h i m s e l f , Gaw aine i s overcom e by f u r y and h a t e . The K ing s e e s t h e [ ( b e g in n in g o f t h e e n d o f h i s kingdom : 34 The K in g h a s h ad h i s w o r l d , And he s h a l l h a v e no p e a c e . W ith M odred h e r e , And A g r a v a in e w i t h G a r e t h , who i s d e a d W ith G a h e r i s , Gaw aine w i l l hav e no p e a c e , G aw aine o r M odred— Gawaine w i t h h i s h a t e . Or Modred w i t h h i s a n g e r f o r h i s b i r t h , And t h e b l a c k m a la d y o f h i s a m b it ion***-* ! W i l l make o f my Round T a b l e , w h ere was d ra w n j The c i r c l e o f t h e w o r l d , a t h i n g o f w r e c k ! And y e s t e r d a y — a f u r n i t u r e f o r g o t t e n ; And I , who lo v e d t h e w o rld a s M e r l i n d i d , 1 May l o s e i t a s he l o s t i t , f o r a lo v e T h a t was n o t p e a c e , a n d t h e r e f o r e was n o t l o v e . ( p p . 4 0 0 -4 0 1 ) As t h e s i x t h s e c t i o n o p e n s , we f i n d t h a t G aw aine h a s | g o ad ed A r t h u r t o l a y s i e g e t o Jo y o u s G a r d ; y e t , i t i s o n ly 1G a w a in e !s h a t r e d t h a t s u s t a i n s t h e w a r , a w ar t h a t Gawaine ; I j | i n s i s t s m ust c o n t i n u e u n t i l L a n c e l o t o r A r t h u r o r G aw aine ; i ! i s d e a d . L a n c e l o t , h o w e v e r , h a s t h e s u p e r i o r f o r c e and ! j c o u l d e a s i l y en d t h e w a r , a n a c t i o n w h ic h B o rs and G u in e - i : v e r e u r g e upon L a n c e l o t , B ors a s k s L a n c e l o t : i I Why l o n g e r , t h e n , ' < A re you and G aw aine t o a n o i n t w i t h w a r , ! T h a t e v e n i n h e l l w ould be s u p e r f l u o u s , i l A r e i g n a l r e a d y d y i n g , and r i p e t o d i e ? ( p . 40 3 ) , i j G u in e v e r e s e e s t h e d e s t r u c t i o n o f G aw aine and A r t h u r t h e ] o n ly way o u t : j j I s e e b u t one d e l i v e r a n c e : I s e e n o n e , i I U n le s s you c u t f o r u s a c l e a n way o u t , I j So r e n d i n g t h e s e h a t e — woven webs o f h o r r o r j , B e f o r e t h e y mesh t h e w o r l d , (pp* 4 0 4 - 4 0 5 ) j { A lth o u g h he knows t h a t sh e w i l l n o t u n d e r s t a n d , L a n c e l o t ; I a n s w e rs t h a t he c a n n o t b r i n g h i m s e l f t o k i l l G aw aine ( b e - i ; c a u s e he h a s a l r e a d y k i l l e d t h e d e f e n s e l e s s G a r e t h and ! 35 i j G a h e r i s ) o r A r t h u r ( b e c a u s e A r t h u r h a s made h im a k n i g h t !and h a s lo v e d h im b e s t ) . The n e x t m o rn in g t h e B is h o p o f R o c h e s t e r a r r i v e s , i b e a r i n g a l e t t e r d em an d in g i n t h e name o f t h e Pope t h e r e l e a s e o f G u in e v e r e t o A r t h u r , who h a s b r o k e n o f f t h e w ar and r e t u r n e d t o C a m e lo t, p r o m i s i n g t h a t no harm w i l l come t o t h e Q u e e n . L a n c e l o t a g r e e s ; and when G u in e v e r e h e a r s t h e new s, s h e f a i n t s . I n S e c t i o n S e v e n , L a n c e l o t and G u in e v e r e t a l k o f h i s d e c i s i o n t o r e t u r n h e r t o C am elo t an d A r t h u r , w h ic h s h e d o e s n o t u n d e r s t a n d . She t r i e s t o c h a n g e h i s mind b u t I f a i l s . H er f i r s t a rg u m e n t i s one o f h u r t v a n i t y and s e l f p i t y . She n e x t p l e a d s t h a t t h e y l i v e t o g e t h e r a t l e a s t a l i t t l e w h i l e b e f o r e sh e r e t u r n s t o C a m e l o t . When L a n c e l o t | r e f u s e s , sh e b r e a k s down, a s A r t h u r h a d done e a r l i e r * . She i : s u g g e s t s t h a t t h e y go t o l i v e t o g e t h e r i n P ra n c e o r t h a t I sh e be a l l o w e d t o go t h e r e a lo n e * L a n c e l o t s t a n d s by h i s I ; d e c i s i o n , m e e tin g e a c h o f h e r a rg u m e n ts w i t h c o l d , o b j e c — | I t i v e l o g i c , w h ile sh e p r o g r e s s e s t o n e a r h y s t e r i a . L a n c e - 1 ! l o t h a s r e a c h e d t h a t p o i n t w h ere d e c i s i o n i s n e c e s s a r y , and j he h a s made h i s d e c i s i o n . He f e e l s t h a t t h e i r lo v e h a s i }b e e n w rong and t h a t t h e y a r e now f a c e d s o s q u a r e l y w ith t h e ! j m o r a l i s s u e t h a t t h e y c a n n o t go on w i t h o u t d e g r a d i n g t h a t i l o v e . He s e e s now t h a t i f he d o e s n o t s u p p o r t t h i s d e c i s i o n he w i l l d e g r a d e b o t h t h e i r p a s t and t h e i r f u t u r e , T h i s i s an i s s u e t h a t he h a d n o t s e e n c l e a r l y i n Came l o t * '■ I I I t i s an i s s u e t h a t G u in e v e r e d o e s n o t y e t se e * L a n c e l o t | a l s o f e e l s t h a t he c a n n o t p u r s u e t h e L i g h t o f t h e G r a i l ' , l w h i l e s t i l l bound t o an i l l e g i t i m a t e lo v e * T h u s , he r e « ' i i ■ t u r n s G u in e v e r e t o C a m e lo t. A r t h u r b a n i s h e s him* L a n c e l o t I r e t u r n s t o Jo y o u s G ard a n d , a f t e r w a r d , t o B a y o n n e , Ga«* ,w ain e* s h a t e , h o w e v e r, c a u s e s A r t h u r t o f o l l o w L a n c e l o t and a g a i n make war* I n t h e e i g h t h s e c t i o n , we f i n d t h a t t h e w ar h a s b een s h o r t - l i v e d ; f o r M odred h a s s e i z e d pow er i n C a m e lo t, and A r t h u r h a s c a l l e d o f f h i s w ar w i t h L a n c e l o t t o r e t u r n t o | i ;Cam elot t o d e f e n d h i m s e l f a g a i n s t M odred. G awaine l i e s ; m o r t a l l y w ounded and h a s s e n t f o r L a n c e l o t so t h a t t h e two j : j may end t h e i r q u a r r e l . They a r e r e c o n c i l e d and G aw aine j I ;a s k s L a n c e l o t t o go t o A r t h u r * s a i d , f o r "The w o r ld h a s I I p a i d e n o u g h f o r C a m e lo t" ( p . 4 3 3 ) , ! I n th e l a s t s e c t i o n , L a n c e l o t r a i s e s an army an d s a i l s , j ! ito E n g la n d t o a i d A r t h u r , b u t he a r r i v e s t o o l a t e . He ! i 1 '■ l e a r n s t h a t Modred and A r t h u r a r e d e a d . He s e n d s t h e army ; I jb ack t o F ra n c e and g o e s i n s e a r c h o f G u i n e v e r e , h e r v i s i o n i ! i b e f o r e him "Too f a r t o t o u c h and t o o f a i r n o t t o f o l l o w " I ! ( p . 4 3 8 ) . ! ^ ; He f i n d s h e r i n t h e c o n v e n t a t A lm e sb u ry and i s 1 |o v e rp o w e re d by h i s o l d lo v e f o r h e r* S h e , h o w e v e r, h a s h a d ! Itim e t o c o n s i d e r W hat he h ad s a i d a t J o y o u s G ard and h a s i 37 become c o n v i n c e d t h a t he was r i g h t . Now she makes h e r * j d e c i s i o n an d s t a n d s by i t : J i ! T h e r e i s n o t h i n g now i T h a t I c a n s e e b e tw e e n you and y o u r L i g h t ! i T h a t I h a v e dimmed s o l o n g , ( p , 441) ! i i t I ,He t r i e s t o t a l k h e r i n t o r e t u r n i n g w i t h him t o P r a n c e , b u t j :she g i v e s b a c k t h e v e r y r e a s o n s — i n d e e d , t h e v e r y words***-. i t h a t he h ad g i v e n h e r and s e n d s him aw ay, L a n c e l o t r i d e s o f f , and as h e r v i s i o n r e t r e a t s b e f o r e h im , he r e v e r t s t o t h e p o s i t i o n he h a d s u s t a i n e d a t J o y o u s G a r d . E a ch h a s a c h i e v e d s e l f - p o s s e s s i o n t h r o u g h r e n u n c i a t i o n o f t h e o t h e r . T h i s h a s a l m o s t t h e B i b l i c a l m ean in g s i i He t h a t s h a l l l o s e h i s l i f e w i l l s a v e i t * 1 I n R o b i n s o n 's L a n c e l o t , G u in e v e r e d i f f e r s i n c h a r a c t e r ; and a c t i o n fro m t h e q u e e n s o f b o t h M a lo ry and T e n n y s o n , I n j ] \ a l l t h r e e , sh e i s c e n t r a l t o t h e a c t i o n , b u t i n R o b i n s o n 's ! poem sh e becom es n o t t h e a d m ire d h e r o i n e o f a c o u r t l y c o n - [ j v e n t i o n t h a t made t r u e lo v e p o s s i b l e o n l y o u t s i d e t h e b o n d s i jo f m a r r i a g e — as i n M a lo ry — n o r an a d u l t e r o u s w if e c a l l o u s l y I j d i s r e g a r d i n g a q u e e n l y d u t y t o be a p a t t e r n o f f i d e l i t y - - [as i n T e n n y s o n — b u t a p e r s o n , l i k e A r t h u r h i m s e l f , c o n f u s - J i j led by and c a u g h t i n t h e web o f c o n f l i c t i n g d e s i r e s and ' I i I l o y a l t i e s . She i s l e s s s e l f - r e l i a n t t h a n V i v i a n and sh e j ' r e s e n t s t h e f a l s e p o s i t i o n i n w h ic h sh e h a s b e e n p l a c e d by 1 i [ A r t h u r 's a s s u m p tio n o f t h e r i g h t t o m a r ry h e r w i t h o u t c o n - I t [ s u i t i n g h e r i n c l i n a t i o n a n d , t h u s , i s a b l e t o r a t i o n a l i z e ! 3 8 j h e r a f f a i r w i t h L a n c e l o t , Nor i s sh e g i v e n t h e i m p o s s i b l e 1 'b u r d e n , a s i n T e n n y s o n , o f b r i n g i n g t o r u i n t h e e n t i r e king d o m ; M odred, G a w a in e , and A r t h u r e a c h h a v e t h e i r f a i r s h a r e s i n t h e c o l l a p s e , L a n c e l o t ’s g o in g t o G u i n e v e r e , j I w h ile i t p r e c i p i t a t e s t h e c a t a s t r o p h e , d o e s n o t b e a r t h e 1 e n t i r e b u r d e n . G u i n e v e r e , t h e r e f o r e , h a s no more t h a n a ; i r e a s o n a b l e s h a r e o f t h e r e s p o n s i b i l i t y f o r t h e d o w n f a l l o f t h e kin g d o m . R o b in s o n h a s u n i f i e d t h e f a l l o f A r t h u r ’ s kingdom i n t o a s i n g l e s t o r y , w h ic h d e a l s m a in ly w i t h t h e e f f o r t s o f i n - • d i v i d u a l s t o a c h i e v e g ro w th o u t o f e r r o r , s a l v a t i o n o u t o f : t r a g e d y , u n t i l t h e y a t l a s t s a c r i f i c e t h e l i m i t e d l i f e t o j t h e g r e a t e r , p a s s i o n t o w isdom , t h e p e r s o n a l t o t h e g e n e r - ■ i - i a l . The s a c r i f i c e i s g e n u in e t r a g e d y . R o b i n s o n ’s p l a n h a s ' t h e power t o g e n e r a t e and s u p p o r t g r e a t p o e t r y , and L a n c e l o t i s an i m p r e s s i v e n a r r a t i v e poem, T r i s t r a m was p u b l i s h e d i n 1927, b u t l i k e L a n c e l o t , | ' jwas c o n c e i v e d and s t a r t e d much e a r l i e r t h a n i t s p u b l i c a t i o n ' d a t e m ig h t i n d i c a t e . The f i r s t s e c t i o n o f th e poem o p e n s j i : |i n B r i t t a n y , w h ere I s o l t o f t h e w h ite h a n d s and h e r f a t h e r , j Siting H ow el, t a l k a b o u t T r i s t r a m , who h ad p a i d a b r i e f J ‘ ! ( v i s i t t o B r i t t a n y some y e a r s e a r l i e r . I s o l t , i n lo v e w i t h 1 j T r i s t r a m , a w a i t s h i s r e t u r n . Howel i s d i s t r e s s e d when . i ' I s o l t a d m its t h i s lo v e and he i s d i s t r e s s e d w i t h t h e ch an g e j I I iin h i s d a u g h t e r fro m c h i l d t o woman. The two s p e a k b r i e f l y ; 39 jof I s o l t o f I r e l a n d , who i s on t h i s same n i g h t t o become ; jthe w i f e o f K ing M ark o f C o r n w a l l , l 1 The s c e n e i n t h e s e c o n d s e c t i o n i s K in g M a rk ’s c a s t l e , I * T i n t a g e l , i n C o r n w a ll on t h e n i g h t o f t h e m a r r i a g e , T r i s - ; tr a m h a s w ith d r a w n fro m t h e f e s t i v i t i e s a f t e r t h e cerem ony j i t o w e i g h t h i s p a r t i n b r i n g i n g a b o u t t h e m a r r i a g e and t o ; p o n d e r h i s lo v e f o r I s o l t o f I r e l a n d , G o u v e r n a i l , h i s c l o s e s t f r i e n d and f o r m e r t e a c h e r , comes t o t h e p a r a p e t s I as a m e s s e n g e r fro m M ark t o a s k T r i s t r a m ’ s p r e s e n c e i n s i d e , I i T r i s t r a m r e f u s e s . Q ueen M organ, t h e n , comes fro m M ark t o ! p e r s u a d e him t o j o i n t h e c e l e b r a t i o n , When s h e , t o o , ; f a i l s , she b r a z e n l y e n c o u r a g e s T r i s t r a m t o f o r g e t I s o l t an d ; - [ c o n s i d e r h e r ; b u t sh e f a i l s a l s o i n t h i s a n d l e a v e s . j I n t h e t h i r d s e c t i o n , I s o l t h e r s e l f comes t o T r i s t r a m . ' D u rin g t h e i r lo n g c o n v e r s a t i o n , th e two c o n f e s s t h e i r g r e a t I 'lo v e and r e v i e w t h e p r e v i o u s h i s t o r y : T r i s t r a m h a d gone t o ■ i I r e l a n d f i r s t t o w in t h e lo v e o f I s o l t b u t h a d k i l l e d h e r ; i k in s m a n , M o rh a u s, t o p r o v e h i s m anhood; h e h a d b e e n i n j u r e d , i l i n t h e f i g h t an d had b e e n n u r s e d b a c k t o h e a l t h by I s o l t , o n ly t o s a i l aw ay; and he h ad t h e n r e t u r n e d a s a m e s s e n g e r i fro m M ark, who h ad made T r i s t r a m a k n i g h t and t h e n , a s pay** I ment and w i t h o u t T r i s t r a m ’s f u l l k n o w le d g e , h a d r e q u i r e d j I ;t h a t T r i s t r a m a c q u i r e I s o l t f o r h im . The tw o l o v e r s c o n - 1 1 i i ite m p la te s u i c i d e , b u t t h e y f i n a l l y d e c i d e t h a t tim e i s on i t h e i r s i d e . The c o n v e r s a t i o n i s b r o k e n by t h e d i s c o v e r y ■ 40 o f A n d re d i n t h e sh a d o w s. T r i s t r a m s e i z e s him and th ro w s him a g a i n s t t h e p a r a p e t . S e c t i o n F o u r c o n t i n u e s t h e s c e n e , M ark a r r i v e s i n tim e t o g r a s p th e s i t u a t i o n . T r i s t r a m a c c u s e s M ark o f h a v i n g s e n t A n d red t o sp y on th em , a c h a r g e t h e K ing d e n i e s . The K in g i s a p p a r e n t l y i n n o c e n t h e r e f o r , a l t h o u g h i t i s n o t s t a t e d , i t i s i m p l i e d t h a t i t was M organ who h a d s e n t A n d red t o sp y on t h e l o v e r s , Mark and T r i s t r a m a r g u e and a r e a t t h e p o i n t o f d ra w in g t h e i r s w o rd s j b u t e a c h r e s i s t s t h e p a s s i o n t o k i l l t h e o t h e r , T r i s t r a m b e c a u s e he h a s sw o rn t o I s o l t t h a t he w i l l n o t k i l l t h e K in g , and M ark b e c a u s e o f t h e b lo o d r e l a t i o n s h i p and t h e d e s i r e f o r r e v e n g e . A c c u s in g T r i s t r a m o f b e i n g j e a l o u s o f h im , Mark ;se e k s t h e p l e a s u r e o f k e e p i n g t h e l o v e r s a p a r t b u t a g o n i z i n g l y a l i v e ? he b a n i s h e s T r i s t r a m fro m C o r n w a ll f o r e v e r : Go.1— and may a l l i n f e r n a l f i r e s a t t e n d yo u — You and y o u r n i g h t s and d a y s , and a l l y o u r d re a m s Of h e r t h a t you h a v e n o t , a n d s h a l l h a v e n e v e r ] ( p , 634) I I T r i s t r a m l e a v e s T i n t a g e l and w a n d e r s f o r tw o d a y s and ( • I n ig h ts t h r o u g h t h e r a i n u n t i l he c o l l a p s e s fro m e x h a u s t i o n an d f e v e r . He w akes t o f i n d h i m s e l f u n d e r th e c a r e o f iG o u v e r n a il and a p e a s a n t f a r m e r . T h e s e tw o t a k e T r i s t r a m t o a s t r a n g e c a s t l e as T r i s t r a m s l i p s i n and o u t o f c o n s c i o u s n e s s . A f t e r s e v e r a l d a y s o f r e c u p e r a t i o n , T r i s t r a m i i d i s c o v e r s t h a t he i s i n t h e c a s t l e o f Q ueen M o rg a n , who jth e n s u c c e e d s i n s e d u c i n g him b u t n o t i n w in n in g h i s l o v e . 41 M organ i s f u r i o u s b u t a l l o w s T r i s t r a m t o l e a v e , T r i s t r a m i d e c i d e s t o r e t u r n t o B r i t t a n y , w h e re " t h e r e i s p e a c e " and " a c h i l d / Whose i n n o c e n c e may t e a c h me t o be w i s e / T i l l I i |am s t r o n g a g a i n ! ' ( p . 6 4 3 ) . i j The f i f t h s e c t i o n o p en s i n B r i t t a n y , w h ere K ing Howel I i s i n d a n g e r fro m h i s enem y. G r i f f o n , T r i s t r a m , upon i a r r i v i n g , i s c h e e r e d by t h e p r o s p e c t o f a good f i g h t 5 he p l e d g e s h i s s u p p o r t and t h e n e x t d a y k i l l s G r i f f o n , I n t h e d a y s and m onths t h a t f o l l o w , T r i s t r a m i s c o m f o rte d by t h e lo v e and in n o c e n c e o f t h e y o u n g I s o l t o f B r i t t a n y u n t i l , more o u t o f p i t y t h a n lo v e f o r h e r , h e m a r r i e s t h i s w h i t e I s o l t , T h e n , a f t e r tw o y e a r s , G aw aine a r r i v e s fro m C am elo t t o t a k e T r i s t r a m b a c k t o become a k n i g h t o f K in g A r t h u r ’s Round T a b l e , I n S e c t i o n S i x , G aw aine f l i r t s w i t h I s o l t and i s 'am azed t h a t T r i s t r a m h a s b e e n n e g l e c t i n g t h i s b e a u t i f u l and ^ s e n s i t i v e g i r l w h i l e b r o o d i n g o v e r h i s b a n is h m e n t fro m i l s o l t o f I r e l a n d . I s o l t r e v e a l s t o Gaw aine t h a t s h e knows ■that T r i s t r a m w i l l n e v e r r e t u r n t o h e r i f he l e a v e s and : t h a t he w i l l d i e i n C o r n w a l l , G aw aine t e l l s h e r t h a t t h i s c a n n o t b e , f o r M ark i s i n p r i s o n f o r f o r g i n g t h e P o p e ’s name t o a l e t t e r t o s e n d T r i s t r a m t o h i s d e a t h f i g h t i n g t h e S a r a c e n s . G aw aine l e a v e s I s o l t i n t h e g a r d e n an d goes I I ito T r i s t r a m t o a d v i s e him t o r e t u r n d i r e c t l y t o B r i t t a n y fro m C a m e lo t. T r i s t r a m g o es t o h i s w i f e , h e a r i n g t h e i 42 | so u n d s o f doom i n t h e b r e a k i n g o f t h e s u r f a s he w a lk s t o j jth e g a r d e n . The so u n d o f t h e s e a a l s o re m in d s him o f I s o l t | |o f I r e l a n d . He j o i n s I s o l t i.n t h e g a r d e n , w h ere t h e tw o : i i 'know e a c h o t h e r ’ s t h o u g h t s . I n t h e lo n g c o n v e r s a t i o n , Tris»- ! i j r a m ' s n e v e r - d e a d b u t n e v e r - s p o k e n lo v e f o r I s o l t o f I r e l a n d and h i s lo v e b o r n o f p i t y f o r t h i s w h i t e I s o l t a r e I b r o u g h t t o t h e c o n s c i o u s l e v e l and e x p r e s s e d . I s o l t t e l l s j T r i s t r a m , ! | ! . . . you h a v e l i v e d f o r n o t h i n g e l s e ■ T h an f o r a l o n g ago t h a t f o l l o w s you To s l e e p , a n d h a s a l i f e a s lo n g as y o u r s . S om etim es I w i s h t h a t h e a v e n had l e t you h a v e h e r , And g i v e n me b a c k a l l t h a t was l e f t o f y o u , To t e a c h and h e a l . I m ig h t be s u r e o f t h a t , ( p . 6 6 8) I She i s aw are o f h i s i n t e n t t o r e t u r n t o C o r n w a ll and o f t h e j I im p e n d in g doom, b u t sh e n e i t h e r c a n n o r w i l l s t o p T r i s t r a m . | The s e v e n t h s e c t i o n o p e n s w i t h a b r i e f s c e n e i n C o rn - I w a l l , b r i n g i n g up t o d a t e I s o l t o f I r e l a n d ’s h i s t o r y : s h e , ] i n h e r ’’c a n d i d and e x a c t ” a b h o r r e n c e o f M a rk , h a s d r i v e n h im t o t h e v e n g e a n c e t r a p i n w h ic h he h a s c a u g h t h i m s e l f ; Jshe, t o o , h a s h e a r d t h e so u n d o f doom i n t h e s e a - s o u n d s , I i i i The m a jo r p o r t i o n o f t h e s e c t i o n — and o f t h e poem— t h e n ( ,opens on T r i s t r a m a lo n e a t J o y o u s G a rd , w h e re h e h a s gone ! j a f t e r l e a v i n g C a m e lo t. He m e d i t a t e s on I s o l t o f I r e l a n d ’s f a t e and f e e l s t h a t i t w o u ld be b e t t e r i f s h e w ere d e a d : j jshe w o u ld b e r e l e a s e d , a n d i n h e r r e l e a s e , h e w ou ld f i n d ; I ! p e a c e . H is t h o u g h t s a r e i n t e r r u p t e d by t h e a p p e a r a n c e o f j 43 I s o l t h e r s e l f * who h a s b e e n b r o u g h t by G u in e v e r e t o Jo y o u s G ard w h i l e M ark i s i n p r i s o n . The r e m a i n d e r o f t h e s e c t i o n i i s a lo n g lo v e s c e n e , com posed a lm o s t e n t i r e l y o f c o n v e r s a t i o n . The tw o t a l k o f t h e i r l o v e , o f t i m e , o f l i f e and d e a t h , and o f f e a r . T h e r e i s t h r o u g h o u t a s e n s e o f doom, b u t t h e r e i s t h e s p o k e n b e l i e f t h a t t h e i r lo v e i s s t r o n g e r t h a n t i m e , s t r o n g e r t h a n d e a t h . They d e c i d e t o make t h e m ost o f t h e i r b e i n g t o g e t h e r w h i l e t h e r e i s t i m e . The e i g h t h s e c t i o n c o n t i n u e s t h e i d y l l . T r i s t r a m and I s o l t a r e i n t e n s e l y h a p p y . E a c h d a y i n l o v e and c o n t e n t ment t h e y a r e j o y o u s l y a l i v e t o e a c h o t h e r and t o t h e w o r ld a ro u n d th e m . They h av e one f u l l summer t o g e t h e r b e f o r e T r i s t r a m r e t u r n s t o t h e c a s t l e one d a y t o f i n d t h a t M ark, who h a s o b t a i n e d h i s f re e d o m , h a s s t o l e n I s o l t b a c k . T r i s — I (tr a m i s s t r u c k dumb. F or a m onth he g r i e v e s i n s i l e n c e ; t h e n he r e c e i v e s a m ocking l e t t e r fro m Q ueen M o rg an , w hich i n c i t e s h im t o go t o C o r n w a ll e v e n th o u g h d e a t h by f i r e a w a i t s him a t M ark*s h a n d s . I | The n i n t h s e c t i o n o p e n s w i t h a c o n v e r s a t i o n a t Tinta** g e l b e tw e e n M ark and I s o l t o f I r e l a n d . He f i n d s h i s t r i - jumph a h o llo w v i c t o r y , He f i n d s t h a t he c a n n o t c o n t i n u e h i s o p p o s i t i o n t o t h e i r lo v e and t e l l s h e r t h a t T r i s t r a m i s f r e e t o come. He w i l l n o t b u r n T r i s t r a m a s he h a d s a i d he I w o u ld ; he a s k s o n ly t h a t he h i m s e l f n o t s e e T r i s t r a m , l I T r i s t r a m a r r i v e s . The l o v e r s a r e r e u n i t e d , b u t I s o l t 44 i s d y i n g (w e a k e n e d , a p p a r e n t l y by h e r e x t e n d e d o p p o s i t i o n t o M a rk ). T h e re i s a b r i e f lo v e s c e n e , b u t t h e im m inence ’o f I s o l t ’ s d e a t h m akes t h e c o n v e r s a t i o n lo o k t o t h e p a s t , I B o th f e e l t h e i r b r i e f summer t o g e t h e r h a s made l i f e w o r th i j w h i l e . W h ile t h e y t a l k , A n d re d s t e a l s s i l e n t l y to w a r d ithem . Q ueen M organ, u s i n g h i s l u s t f o r I s o l t , h a s m a n ip u l a t e d A n d red ( a p p a r e n t l y by g i v i n g h e r s e l f s e x u a l l y ) t o I f u l f i l l h e r d e s i r e f o r r e v e n g e . A ndred s t a b s T r i s t r a m , who d i e s j u s t a s l i f e i s l e a v i n g I s o l t ; and t h e y d i e i n e a c h o t h e r t s a rm s. ; The t e n t h and l a s t s e c t i o n o p e n s w i t h M ark p o n d e r i n g t h e d e a t h s o f T r i s t r a m and I s o l t . He i s u n a b l e t o f a th o m t h e f a t e s t h a t h av e b r o u g h t a b o u t t h e s e e v e n t s b u t f e e l s f h a t t h e two l o v e r s h a v e a c h i e v e d p e a c e . The s c e n e s h i f t s t o B r i t t a n y , w h ere Howel t r i e s t o c o m f o r t h i s d a u g h t e r , f o r G o u v e r n a i l h a s r e t u r n e d fro m C o r n w a ll w i t h t h e g rim news* N e i t h e r Howel n o r I s o l t u n d e r s t a n d s why T r i s t r a m had n o t r e t u r n e d t o B r i t t a n y ; b u t I s o l t d im ly c o m p re h e n d s , d e s p i t e t h e g r e a t v o i d now i n h e r l i f e , t h a t t h e lo v e o f T r i s t r a m and I s o l t o f I r e l a n d "M ust h a v e b e e n more t h a n e a r t h ” ( p . 7 2 7 ) . T r i s t r a m i s s t r u c t u r a l l y w e a k e r t h a n L a n c e l o t ; f o r i l i k e M e r l i n , i t i s e s s e n t i a l l y a tw o*-part s t o r y , w i t h t h e i i n t e r l u d e i n B r i t t a n y o n l y l o o s e l y c o n n e c t e d w i t h t h e c o n f l i c t i n C o r n w a l l . As M e r l i n ’s l o v e a f f a i r w i t h V i v i a n d i d 4 5 n o t c a u s e o r e v e n d e l a y t h e f a t e d d o w n f a l l o f A r t h u r ' s k in g d o m , s o T r i s t r a m ’ s lo v e a f f a i r w i t h I s o l t o f B r i t t a n y |does n o t p r e v e n t o r e v e n d e l a y t h e f a t e d d e a t h s o f T ris*- jtrarn an d I s o l t o f I r e l a n d . And a s M e r l i n ’s c o n c e r n f o r and i n v o l v e m e n t w i t h A r t h u r ’ s s i t u a t i o n b r o u g h t an end t o h i s l : r e l a t i o n s h i p w i t h V i v i a n , s o T r i s t r a m ’s c o n c e r n f o r and '.involvem ent i n I s o l t o f I r e l a n d ’s s i t u a t i o n b r i n g s an end t o h i s r e l a t i o n s h i p w i t h I s o l t o f B r i t t a n y . N e i t h e r poem h a s t h e n a r r a t i v e u n i t y o f L a n c e l o t . T r i s t r a m i s l e s s p o w e r f u l t h a n L a n c e l o t a l s o b e c a u s e T r i s t r a m l o s e s h i s l i f e t o A n d re d , a m in o r c h a r a c t e r , p ro m p te d t o t h e a c t i o n i by Q ueen M o rg an , a m in o r c h a r a c t e r . I t i s t h i s a c t i o n t h a t c a u s e s t h e c a t a s t r o p h e , n o t t h e d r a m a t i c p a s s i o n o f a 'm ajor c h a r a c t e r . T h is w e a k n e s s i s R o b i n s o n ’s a l o n e . I n S w i n b u r n e ’ s T r i s t r a m o f L y o n e s s e , T r i s t r a m , who i s wounded i n b a t t l e , i s t a k e n t o B r i t t a n y . So s e r i o u s i s t h e wound t h a t o n l y I s o l t o f I r e l a n d , w i t h h e r m y s t e r i o u s pow ers and c u r e s , c a n h e a l h im . She i s s e n t f o r ; and i t i s a r r a n g e d I jth a t i f she co m e s, a w h i t e s a i l i s t o be r a i s e d , b u t i f she d o es n o t come, a b l a c k s a i l i s t o be r a i s e d . She comes i ' and a w h i t e s a i l i s r a i s e d ; b u t I s o l t o f B r i t t a n y , i n a moment o f j e a l o u s y , t e l l s T r i s t r a m t h a t t h e s a i l i s b l a c k , ! 'and he d i e s . T r i s t r a m ’s d e a t h , t h e n , i s t h e d r a m a t i c 1 c o n s e q u e n c e o f h i s own a c t i o n , n o t , a s i n R o b i n s o n ’ s poem , 'the r e s u l t o f h i s r a t h e r i n c i d e n t a l m i s t r e a t m e n t o f A n d red I and h i s s h u n n in g o f Q u een Morgan* I n M alo ry * T r i s t r a m i s ; I , s t a b b e d by M a rk , a g a i n a c o n s e q u e n c e o f T r i s t r a m ’s own a c t i o n . I n R o b i n s o n ’s T r i s t r a m * how ever* t h e w ro n g ed hus** • !b a n d and t h e w ro n g ed w i f e a r e p a s s i v e b y s t a n d e r s w h i l e ^ !T r i s t r a m i s k i l l e d by a c h a r a c t e r who m ig h t a s e a s i l y h a v e j I b e e n o m i t t e d fro m t h e poem a l t o g e t h e r . I I i i T h e r e i s t h e a d d i t i o n a l c o n s i d e r a t i o n o f t h e lo v e ! p o t i o n . R o b i n s o n ’s e l i m i n a t i o n o f t h e lo v e p o t i o n rem oves ' t h e s t r o n g u n d e r c u r r e n t o f p r i m i t i v e f e e l i n g * o f s t r o n g j and u n c o n t r o l l e d p h y s i c a l p a s s i o n , o f t h e s o u r c e m a t e r i a l . 1 Y e t, t h e d e c i s i o n t o o m it t h e lo v e p o t i o n was made c a r e — 1 i f u l l y r 1 * The f o o l lo v e p o t i o n , o r p h i l t r e , i n t h e T r i s t r a m s t o r y 1 h a s a lw ay s b e e n an i n c u r a b l e s o u r c e o f a n n o y a n c e t o me, ! and a f t e r f i g h t i n g i t away f o r f o u r o r f i v e y e a r s I h a v e J f i n a l l y succum bed t o t e l l i n g t h e s t o r y o f w h a t m ig h t ! h a v e h a p p e n e d t o human b e i n g s i n t h e s e c i r c u m s t a n c e s * w i t h o u t t h e i r w i t s and w i l l s h a v i n g b e e n t a k e n away by some i m p o s s i b l e and w h o l l y s u p e r f l u o u s c o n c o c t i o n * Men and women make enough t r o u b l e f o r t h e m s e l v e s w i t h o u t b e i n g d e n a t u r e d and t u r n e d i n t o r o b o t s , ^ R o b in s o n w r o te t o Lew is M. I s s a c s j u s t t h r e e d a y s l a t e r j ! ; My o n l y o b j e c t i n w r i t i n g t h i s poem i s t o g e t o u t o f my j s y s t e m a lo n g i m p r i s o n e d c u r i o s i t y t o f i n d o u t w h a t s o r t ' j o f s t o r y m ig h t be made o f T . a n d I , on t h e a s s u m p tio n 1 ! t h a t t h e y w ere n o t n e c e s s a r i l y a p a i r o f i m p o s s i b l e and ! i r r e s p o n s i b l e m o ro n s . ( L e t t e r s , p . 145) j j T ’ ’ ‘ ‘ T 1 < ] R o b in s o n , t h e n , r e j e c t e d t h e lo v e p o t i o n a s a m o t i v a t — 1 I in g f o r c e i n o r d e r t o r a t i o n a l i z e t h e l o v e r s and t h e s t o r y } ..............^ R o b in s o n , t o M rs, L a u r a E . R i c h a r d s , J u l y 2 6 , 1 9 2 5 , ! S e l e c t e d L e t t e r s o f E dw in A r l i n g t o n R o b i n s o n , comp. R i d g e - J jly T o r r e n c e (New Y ork, 1 9 4 0 ) , p , 145*' an d i t i s j u s t t h i s r a t i o n a l i z i n g o f t h e c h a r a c t e r s t h a t i I g o t him i n t o n a r r a t i v e t r o u b l e . The v o i d i n t h e T ristram ** , I s o l t s t o r y l e f t by t h e o m i s s i o n o f t h e lo v e p o t i o n and i t s i m p l i c a t i o n o f u n c o n t r o l l e d p h y s i c a l p a s s i o n i s f i l l e d i n i ;R o b i n s o n ’s s t o r y w i t h c o n v e r s a t i o n ; y e t , n e i t h e r T r i s t r a m 'n o r I s o l t h a s many p e r s o n a l i z i n g c h a r a c t e r i s t i c s , T hey j h a v e none o f t h e i n t e l l e c t u a l o r m o ra l c o m p l e x i t y o f h i s I L a n c e l o t and G u in e v e r e o r M e r l i n and V i v i a n . T r i s t r a m and | i i I s o l t h a v e l i t t l e b u t t h e i r l o v e , w h ic h i s r a t h e r a b s t r a c t : i * t ; and d is e m b o d i e d ; s o t h a t l i t t l e s a v e s e n t i m e n t i s l e f t . j ♦ The c o n v e r s a t i o n s o f t h e l o v e r s a r e t o o lo n g and a r e o f t e n j j i i n e f f e c t i v e . i R o b i n s o n ’s u s e ~ ~ a n d o v e r - u s e — o f c o n v e r s a t i o n a s a 1 i n a r r a t i v e t e c h n i q u e m ars n o t o n l y T r i s t r a m b u t t h e o t h e r i A r t h u r i a n poems a s w e l l . We a r e o f t e n a l l o w e d t o o v e r h e a r ! I c o n v e r s a t i o n , t h e s o l e p u r p o s e o f w h ic h i s t o c o n v e y i n - ■ f o r m a t i o n ; y e t , t h a t i n f o r m a t i o n c o u ld m ore e f f i c i e n t l y be • e x p r e s s e d by t h e p o e t h i m s e l f . The l o v e r s t a l k a b o u t p a s - 1 ' s i o n b u t d o n o t e x h i b i t p a s s i o n , and t h e c o n v e r s a t i o n s a r e , j I . t y p i c a l l y s e t i n l a r g e b l o c k s , g i v i n g t h e s p e e c h e s t h e ; I I ! c h a r a c t e r o f m o n o lo g u es and so m e tim e s o f se rm o n s o r p h i l o — j j | s o p h i c a l l e c t u r e s . The p a c e o f t h e n a r r a t i v e i s a lm o s t j I a lw a y s i m p a i r e d . T h e re a r e t i m e s , e v e n , when th e q u a l i t y | o f t h e p o e t r y i s i m p a i r e d . When A r t h u r s u f f e r s h i s emo- i , t i o n a l c o l l a p s e i n S e c t i o n F o u r o f L a n c e l o t , R o b in s o n c h o o s e s t o e x h i b i t t h a t c o l l a p s e a s w e l l a s t o c o n v e y cer** t a i n i n f o r m a t i o n f o r i t s own s a k e t h r o u g h t h e k i n g ’s lo n g s p e e c h . The l a t t e r c o u ld h av e b e e n c o n v e y e d d i r e c t l y w i t h g r e a t e r b r e v i t y an d pow er by t h e p o e t a s n a r r a t o r . The i l f o r m e r i s i m i t a t i v e i n f o rm ; l i k e a c o n f u s e d m in d , i t w a n - ! d e r s and s a y s n o t h i n g e f f e c t i v e l y . I t i s r e a s o n a b l e t h a t i : t h e k i n g s h o u ld b r e a k d o w n , b u t t h e s t y l e o f t h e poem | s h o u l d n o t c o l l a p s e . O f t h e s e l i n e s , W i n t e r s com m ents; i I T h e r e i s a k i n d o f c o n t e m p t i b l e f e e b l e n e s s a b o u t th e m | one f e e l s t h a t i f t h e K in g c o u l d n o t h av e done b e t t e r , t h e p o e t s h o u ld have do n e s o . ( R o b i n s o n , p , 75) S i m i l a r n a r r a t i v e and s t y l i s t i c f l a w s a r e fo u n d i n e a c h o f t h e poem s. T h i s u s e o f c o n v e r s a t i o n a l s o l e a d s R o b in son t o t h e i n c l u s i o n o f d e t a i l s t h a t c o n t r i b u t e l i t t l e t o t h e movement o r pow er o f t h e n a r r a t i v e s , p a r t i c u l a r l y when R o b in s o n i s a t t e m p t i n g w i t t y c o n v e r s a t i o n . T h e r e i s , a l s o , t h e c h a r a c t e r i s t i c t o be fo u n d t h r o u g h o u t t h e A r t h u r i a n poem s, a s fro m tim e t o tim e i n a l l R o b in s o n , o f t h e r e c u r r i n g u s e o f su c h te r m s as ’’F a t e , ” j ’T i m e , " " L i g h t , ” " d a r k n e s s , ” " s h a d o w s ," and many o t h e r s , ^While t h e r e i s some d e v e lo p m e n t a n d d e f i n i t i o n o f some o f t h e s e as s y m b o ls , t h e y a p p e a r so o f t e n as t o w eak en t h e ( e f f e c t d e s i r e d . The e f f e c t c r e a t e d i s , a t i t s w o r s t , t h a t t A ' o f a s e n t i m e n t a l , s t e r e o t y p e d c l i c h e a n d , a t i t s b e s t , t h a t io f a n e v a s i o n o f e x a c t s t a t e m e n t . W h ile a c o n c o r d a n c e o f R o b in s o n i s o u t s i d e t h e s c o p e o f t h i s p a p e r , a c o u n t o f a 4 9 few o f t h e s e te r m s i n d i c a t e s t h e f o l l o w i n g : I n t h e t h r e e A r t h u r i a n p o em s, ’’F a t e ” i s u s e d 37 t i m e s ; ’’T im e ” 46 t i m e s ; ’’L i g h t ” (a n d s u c h v a r i a n t s a s ”G r a i l , " ’’V i s i o n , ” and ; ’’G leam ” ) 68 t i m e s ; ’’w h i t e ” (a n d ’’w h i t e n e s s ” ) 87 t i m e s ; ; ’’d a r k ” (an d s u c h v a r i a n t s a s ’’d a r k n e s s ” a n d ’’d a r k e n e d ” ) i | 107 t i m e s ; and ’’f l a m e ” a n d ’’f i r e ” 102 tim e s * T h e s e l a s t ! tw o , ’’f l a m e ” and ’’f i r e , " a r e s u p p o r t e d w i t h o t h e r f la m e * w o rd s ( s u c h a s ’’b u r n , ” ’’b u r n i n g , ” ’’s c o r c h e d , ” and ’’s m o l d e r 1 -* e d ” ) an a d d i t i o n a l 183 t i m e s ; t h e f la m e w o rd s a p p e a r , 1 f t h e n , 285 t i m e s . S u ch r e p e t i t i o n d u l l s t h e im age a t best* . i When, f o r e x a m p le , L a n c e l o t i s s t r u g g l i n g a g a i n w i t h two d i s c r e p a n t modes o f l i f e a t t h e en d o f L a n c e l o t , t h e r e a d e r r e a l i z e s q u i t e c l e a r l y t h e mode o f l i f e he i s g i v i n g up; b u t t h a t w h ic h he w i s h e s t o f i n d i s m ark ed o n l y by a s t e r e o t y p e and t h e e f f e c t i s b a d : She was t h e w o r ld T h a t he was l o s i n g ; and t h e w o r ld he s o u g h t Was a l l a t a l e f o r t h o s e who h a d b e e n l i v i n g , And h ad n o t l i v e d * . , , • • . » . • » « # • - • . * . . . * * * * * - * He ro d e on i n t o t h e d a r k , u n d e r t h e s t a r s , And t h e r e w e re n o m ore f a c e s . T h e re w as n o t h i n g * : B u t a lw a y s i n t h e d a r k n e s s he r o d e o n , • A lo n e ; and i n t h e d a r k n e s s came t h e L i g h t . (P* 44 9 ) CHAPTER IV THE TORCH OP WOMAN: BEAUTY AND WARMTH A lm o st e v e r y o n e i s f a m i l i a r w i t h t h e l e g e n d s o f K in g A r t h u r f f o r t h e s t o r i e s o f t h e k n i g h t s o f t h e Round T a b l e and t h e i r q u e s t s t o s a v e d a m s e ls i n d i s t r e s s a r e common c o n t e n t o f c h i l d r e n l s b o o k s and m a g a z i n e s , T e n n y s o n 1s I d y l l s o f t h e K in g i s n o rm a l s u b j e c t m a t t e r i n l i t e r a t u r e c o u r s e s i n h i g h s c h o o l s and c o l l e g e s , and A r t h u r and h i s c o u r t a r e n a r r a t i v e m a t e r i a l f o r n o v e l s and a t l e a s t one p o p u l a r l y s u c c e s s f u l m u s i c a l a d a p t i o n i n b o t h o p e r a and ! Broadw ay m u s i c a l t h e a t e r . And t o a lm o s t e v e r y o n e , t h e , s t a t e m e n t t h a t t h e women o f t h e s e l e g e n d s w e re b e a u t i f u l I I I w o u ld seem o b v io u s * Common s e n s e — — o r common r o m a n tic , i n - 1 S ! I c l i n a t i o n - * - w o u l d a l l o w t h a t s u c h l a s t i n g lo v e s t o r i e s m u s t I !h av e b e e n b o r n o f t h e p h y s i c a l a t t r a c t i o n o f v i r i l e and | . j c o u r a g e o u s men t o b e a u t i f u l women# T h a t t h e women i n Rob*- j : i i n s o n * s A r t h u r i a n poems a r e b e a u t i f u l , t h e n , i s no s u r p r i s e , ! iThey a r e , h o w e v e r, more t h a n j u s t b e a u t i f u l : t h e y a r e b o th - : I ; p h y s i c a l l y and s p i r i t u a l l y b e a u t i f u l , a n d t h e y a r e per-* j I * ;s o n a l l y and c o m m u n ic a tiv e ly warm# P h y s i c a l l y , t h e y a r e ; l 1 ■the i d e a l i z a t i o n o f b e a u t y , an d t h e y h a v e a b o u t th e m a s e d u c t i v e l o v e l i n e s s and g r a c e o r s m o o th n e s s o f b o d y and .movement t h a t g i v e s th em a t t i m e s a f e l i n e q u a l i t y . They : ! p o s s e s s a w i t and ch arm t o d i s a r m e v e n s u c h men a s M e r l i n , L a n c e l o t , an d T r i s t r a m , T hey h a v e , a l s o * t h e c a p a c i t y f o r i jd e e p e m o tio n and c a n r i s e t o g e n u in e s e l f l e s s n e s s . I t i s , h o w e v e r , t h e i r g r e a t p h y s i c a l b e a u t y t h a t i s f i r s t n o t i c e d ? and i n R o b i n s o n 's poems t h e r e a r e — a s one m ig h t e v e n e x p e c t — tw o t y p e s o f b e a u t y : d a r k an d l i g h t , V i v i a n , I s o l t o f I r e l a n d , and Q ueen M organ a r e d a r k - h a i r e d , d a r k - s k i n n e d , i n t e n s e , p h y s i c a l l y c o m p e l l i n g ; G u in e v e r e and I s o l t o f B r i t t a n y a r e g o l d e n - h a i r e d , f a i r - s k i n n e d , l e s s i n t e n s e ( a t t i m e s , p a s s i v e ) . V i v i a n , w h i l e n o t t h e e n c h a n t r e s s o f T e n n y so n and iM a lo ry , i s n e v e r t h e l e s s a b e w i t c h i n g l y , e n c h a n t i n g l y b e a u t i f u l woman. S h e , d r e s s e d a l l i n g r e e n , r e c e i v e s M er- 1l i n i n h e r g a r d e n a t B r o c e l i a n d e . M e r l i n i s im m o b iliz e d ’’w h i l e h e r b e a u t y and h e r g r a c e / Made p a s s i n g t r a s h o f e m p i r e s . ” F i n a l l y he c a n s p e a k : ’’A re you a lw a y s a l l i n g r e e n , a s you a r e now?” S a i d M e r l i n , more em p lo y ed w i t h h e r c o m p le x io n , Where b l o o d and o l i v e made 'w i l d harm ony W ith e y e s and w ayw ard h a i r t h a t w ere t o o d a r k F or p e a c e i f t h e y w e re n o t s u b o r d i n a t e d ; ” I f s o you a r e , t h e n s o you make y o u r s e l f A d a n g e r i n a w o r ld o f many d a n g e r s . I f I w e re y o u n g , God knows i f I w ere s a f e * C o n c e rn in g you i n g r e e n , l i k e a s l i m c e d a r , j As you a r e now, t o s a y my l i f e was m in e ; | Were you t o s a y t o me t h a t I s h o u l d e n d i t , L o n g e v i t y f o r me w e re j e o p a r d i z e d . Cpp# 2 6 3 -2 6 4 ) ! i ;T hat same e v e n i n g , s h e a w a i t s M e r l i n ’s p r e s e n c e a t a c a n d l e - l i t d i n n e r : ! The Lady V i v i a n i n a f r a g i l e s h e a t h O f c r im s o n , dimmed and v e i l e d i n e f f a b l y By t h e f l a m e - s h a k e n g loom w h e r e i n s h e s a t , ; And t w i n k l e d i f sh e m oved, h e a r d M e r l i n com ing# j (pp* 2 6 9 - 2 7 0 ) i . . ,He t a k e s h e r h a n d s t o k i s s th e m , w i t h f e i g n e d c a l m n e s s : A lth o u g h h i s h e a r t was l e a p i n g and h i s e y e s Had s i g h t f o r n o t h i n g s a v e t h e swimming c r i m s o n ! B e tw e e n two g lim m e r in g arm s* ( p . 2 7 1 ) j To M e r l i n , s h e seem s a f l o w e r o f w o n d er w i t h a c r i m s o n j i s t e m : ! j . . . a f l o w e r o f c h a n g e and p e r i l T h a t h ad a c l i n g i n g b lo s s o m o f warm o l i v e j ■ H a l f s t i f l e d w i t h a t y r a n n y o f b l a c k , ' ' And h e l d a w ayw ard f r a g r a n c e o f a r o s e Made woman by d e l i c i o u s a lc h e m y , ( p , 2 7 1 ) | i i j V i v i a n i s j ; The b e a u t y o f a l l a g e s t h a t a r e v a n i s h e d , R e b o rn t o be t h e w o n d er o f one woman* ( p . 2 8 4 ) ; 1 Were V i v i a n a m i d - t w e n t i e t h c e n t u r y woman, one w o u ld be more l i k e l y t o c a l l h e r p r e t t y o r l o v e l y t h a n b e a u t i f u l , - The c o n n o t a t i v e d i f f e r e n c e , w h i l e h a r d t o d e f i n e , i s g r e a t . O n e ’s r e a c t i o n t o V i v i a n i s t h a t o f e m o t i o n a l d e l i g h t w i t h h e r c h a rm and g r a c e , a k i n d o f v i v a c i t y . One s e e s h e r as a l i t h e , c o l l e g i a t e f i g u r e w i t h t h e f r e s h n e s s o f t h e f o r e s t and t h e f i r m l o v e l i n e s s o f t h e o u t - o f - d o o r s : a T t,nymph," * a ’’b e a u t y o f t h e w o o d la n d ” ( p , 2 7 1 ) , And one s e e s h e r j u s t a s e a s i l y a s a co m ely c o m p an io n on a c a n d l e - l i t e v e n - ; i n g , s n u g g l i n g a s a l i t t l e c h i l d i n t h e arms o f h e r l o v e r . S t i l l a s e a s i l y , one s e e s V i v i a n a s a s e n s u o u s , s e d u c t i v e , ' t h o r o u g h l y d e s i r a b l e m i s t r e s s w i t h h e r ’’d u sk y l o v e l i n e s s ” l ( p . 2 7 2 ) . ! I s o l t o f I r e l a n d , on t h e o t h e r h a n d , w o u ld be c o n s i d — 1 e r e d a woman, n o t a nymph. She h a s a b o u t h e r a s t a t e l i n e s s I :and r e s e r v e . H ers i s a k i n d o f r e g a l , b r e a t h - t a k i n g , p e r - j i i j f e e t b e a u t y , t h e k i n d t h a t m ig h t b r i n g a h u s h t o a g r e a t cro w d . W h ile V i v i a n i s a g i r l who c a n s l i p i n t o t h e r o l e i | o f a woman, I s o l t i s a l l woman. H e rs i s a b e a u t y o f some d e p t h , a p p e a l i n g n o t o n l y t o t h e s e n s e s — t o t h e p h y s i c a l | i u r g e n c i e s — b u t a l s o t o t h e mind and s p i r i t ? f o r t h e r e i s { t a b o u t h e r a s e l f - c o n t r o l and m a j e s t y : ; The few who h av e t o l d o f h e r t o me ! Have t o l d o f s i l e n c e and o f I r i s h p r i d e , i j I n h a b i t i n g t o o much b e a u t y f o r o n e woman, (p* 59 8 ) j i | When s h e comes t o T r i s t r a m on th e n i g h t o f h e r f o r c e d j I i I m a r r i a g e t o M ark, s h e comes ’’W ith h e r d a r k y o u n g m a j e s t y , I u n s h a k e n / By g r i e f and shame and f e a r t h a t made h e r s h a k e " I l ; (p . 6 1 3 ) , and h e r k i s s e s " P u t o u t s p e e c h l i k e f la m e p u t s I i o u t f i r e " ( p . 6 1 3 ) , T h i s i s I s o l t o f t h e " w i l d f r i g h t e n e d 1 v i o l e t e y e s " ( p . 6 9 2 ) , t h e " s o f t w a v in g b l u e - b l a c k h a i r " ( p . 6 0 4 ) , t h e " s i l k s k i n " Cp. 6 0 4 ) , t h e v o i c e l i k e " b l e n d e d g o ld and v e l v e t " ( p . 6 0 4 ) — " p a t r i c i a n , p a s s i o n a t e " ( p , 604)] ! i j F i r e i n h e r e y e s | And t w i l i g h t on h e r warm d a r k - w a v i n g h a i r j j And o n a warm w h i t e f a c e t o o b e a u t i f u l ! i T o be s e e n t w i c e a l i v e and s t i l l b e fo u n d j j A l i v e and w h i t e and warm and s t i l l t h e same f a c e , ; ( p p , 6 7 8 -6 7 9 ) ■ ! T r i s t r a m c o u l d l e a v e J o y o u s G ard i n t h e m o rn in g w i t h t h i s im age a s com pany: j 54 He saw t h e n i g h t —l i k e h a i r and t h e w h i t e arms | And t h e w e t - s h i n i n g e y e s t h a t h a l f a s l e e p i Had l a u g h e d a t h im b e f o r e he l e f t th e m , I S t i l l s h i n i n g and s t i l l s l e e p y . , * . ( p . 69 1 ) I And he c o u ld r e t u r n i n t h e e v e n i n g , t . * * h e a v e n a n d a l l b u t God 1 T o welcome him w i t h w i l d a n d h a p p y e y e s ; And d a r k h a i r w a v in g o v e r th e m , an d a f la m e O f r e d t h a t i n t h e f i r e l i g h t was im m ersed I n b u r n i n g w h i t e , w h i t e f i r e and r e d t o g e t h e r . And h e r w h i t e arms t o h o l d him w h i l e s h e a s k e d Where he h a d been* . . « ( p . 698) A d a r k b e a u t y t h a t T r i s t r a m d i d n o t t u r n t o s o w i l l i n g l y , h o w e v e r, was Q u een M o rg an , W h ile R o b in s o n i n v o l v e s h e r d e e p l y i n t h e p l o t , he d e v o t e s l i t t l e d e s c r i p t i o n t o I | h e r . When s h e comes fro m M ark t o g e t T r i s t r a m on t h e :n i g h t o f t h e m a r r i a g e , 1 T r i s t r a m saw B e f o r e him a w h i t e n e c k and a w h i t e bosom B e n e a th a f a i r and f e l i n e f a c e w h e re o n Demure d e t e r m i n a t i o n was e n g r a v e d As on a p i e c e o f m o o n l i t l i v i n g m a r b l e , And c o u l d a t o n ce h av e s m i l e d and s i g h e d t o s e e So much p r e m e d i t a t e d d a n g e r w a s te d On h i s d e s p a i r and w ra th * ( p , 611) M o rg a n ’s b e a u t y i s a k i n d o f c o o l , p r o f e s s i o n a l b e a u t y : . * . a s t u d i e d f e l i n e s l e n d e r n e s s W here f r u g a l s i l k was n o t f r u g a l i t y * ( p . 640) |S h e moves s l o w l y , s i l e n t l y ; s h e i s f u r t i v e , d a r k , c a l c u l a t i n g , and b r a z e n ; an d s h e h a s t h e a d d e d a p p e a l o f a ;p a s t : . . * h e r t o l l i O f w i l l i n g r e m n a n ts and o f e a g e r c i n d e r s Now s c a t t e r e d a n d f o r g o t t e n sa v e a s names j To make h e r s m i l e . (p . 640) 55 ! As w i t h h i s h a n d l i n g o f M o rg a n , R o b in s o n d e v o t e s v e r y ' l i t t l e s p a c e t o t h e d e s c r i p t i o n t o G u i n e v e r e ’s b e a u t y , t h i s ' i i | b e a u t y b e i n g more i m p l i e d t h a n s t a t e d . He seem s m ore i n - I I i t e r e s t e d i n c r e a t i n g h e r p e r s o n a l i t y t h a n h e r p h y s i c a l i 1 I : !im a g e ; an d i t s h o u ld be n o t e d , h i s i n t e r p r e t a t i o n o f I i 1 G u i.n e v e re ~ ~ h is e f f o r t t o b r i n g h e r t o l i f e as a c h a r a c t e r J i ! o f some d e p t h g ro w in g u n d e r t h e im p a c t o f e v e n t s - - i s R o b - I i t i n s o n ’ s p e c u l i a r c o n t r i b u t i o n t o t h e l e g e n d . He s a i d i n j a l e t t e r t o L o u is V. L edoux on A u g u st 2 6 , 1 917, a f t e r h e j I h a d f i n i s h e d L a n c e l o t : ; -i tt r . r ( I I d o n ’t know w h e t h e r I d e s e r v e a crow n o r a f o o l s c a p f o r ! t r y i n g t o make G u in e v e r e i n t e r e s t i n g — a f a c t t h a t h a s n ’t j b e e n a c c o m p lis h e d h e r e t o f o r e - « b u t sh e m u st h a v e h a d a way. i w i t h h e r o r t h e r e w o u l d n ’t h a v e b e e n s u c h a n e v e r l a s t i n g j I amount o f f u s s made o v e r h e r . i | i !Y et t h e o n l y a c t u a l d e s c r i p t i o n o f h e r t h a t a p p e a r s i n 1 i L a n c e l o t i s t h i s b r i e f s k e t c h o f h e r a s s h e comes u p o n i j L a n c e l o t an d G awaine i n t h e g a r d e n a t C a m e lo t: G u i n e v e r e , W ith many q u e s t i o n s i n h e r d a r k b l u e e y e s And one gay j e w e l i n h e r g o l d e n h a i r , ; Had come up o n t h e two o f th e m u n s e e n , T i l l now s h e was a r u s s e t a p p a r i t i o n A t w h ic h t h e two r o s e . . . . ( p . 3 7 0 ) i i ' I n a d d i t i o n t o t h i s , we h a v e some f r a g m e n t a r y d e s c r i p t i o n : I j ; iWe know t h a t t h i s ’’p a l e w i t c h - w o n d e r o f w h i t e f i r e and j ^ g o l d ” ( p . 3 8 4 ) w i t h t h e b l u e , ’’l u c e n t e y e s ” ( p . 38 0 ) and S e l e c t e d L e t t e r s o f E d w in A r l i n g t o n R o b i n s o n , comp. R i d g e l y T o r r e n c e (Hew York',' 19'40')', p . 1 0 7 . ................... 56 I I t h e s h i n i n g ’’w e ig h t o f g o l d ” ( p . 3 7 4 ) was " t h e en v y o f a l l women" ( p . 38 3 ) and was L a n c e l o t ’s " i n v e n t o r y o f t h e w o r l d / j T h a t he m ust l o s e " ( p . 3 7 1 ) , We know, t o o , t h a t t h e " f i r m j . i n c i s i v e l a n g u o r o f h e r s p e e c h / H e a rd o n c e 5 , was h e a r d j ; I { th ro u g h b a t t l e s " ( p . 3 7 0 ) and t h a t sh e s o a t t r a c t e d Lance** : I 1 i l o t t h a t , i n G a w a in e ’s w o r d s , " a n arm y o f r e d d e v i l s ’ j C ould n o t h av e h e l d t h e man away fro m h e r " ( p . 3 8 8 )* Per-* 1 . ;h a p s M o d re d ’s e v a l u a t i o n b e s t su m m a riz e s m an ’ s r e a c t i o n t o ‘ • I G u i n e v e r e ’s b e a u t y : ! i God, w h at a womani i / She f l o a t s a b o u t t h e c o u r t s o l i k e a l i l y , : j T h a t e v e n I rd b e f o o l e d w ere I t h e K in g , | ] S e e i n g w i t h h i s e y e s w h a t I w o u ld n o t s e e *2 . ' t B e c a u se G u in e v e r e i s i m p o r t a n t t o t h e n a r r a t i v e 1 I I ; s t r u c t u r e o f a l l t h r e e A r t h u r i a n poem s, sh e h a d b e e n a j ! r e a l c h a r a c t e r t o R o b in s o n a s e a r l y a s t h e w r i t i n g o f t h e 1 f i r s t s e c t i o n o f M e r l i n . T h e r e i s r e a s o n t o b e l i e v e t h a t I s o l t o f B r i t t a n y , on t h e o t h e r h a n d , d i d n o t t a k e s h a p e i n h i s mind u n t i l t h e f o r m a t i v e s t a g e s o f T r i s t r a m * She M odred: A F ra g m e n t (New Y o rk , 1 9 2 9 ) , p* XV, T h is i s a s h o r t — e i g h t e e n page's-*--fragment t h a t was o r i g i n a l l y j i a p a r t o f L a n c e l o t . I n t h e f i n a l e d i t i n g , R o b in s o n d e l e t e d . ; i t fro m t h e poem. I t c o n c e r n s a c o n v e r s a t i o n b e tw e e n • A g r a v a in e and M o d re d , t h e l a t t e r o f whom h a s o v e r h e a r d G u i n e v e r e ’s i n v i t a t i o n i n t h e g a r d e n . M odred r e v e a l s h i s p l o t t o h a v e t h e K ing make h i s f a l s e t r i p * He i s now | r e a d y t o s p r i n g t h e t r a p . M odred was p u b l i s h e d a s a l i m i t e d e d i t i o n o f 250 c o p i e s , w i t h t h e f o l l o w i n g n o t e by j ; R o b in s o n : " T h is d e l e t e d f r a g m e n t o f ’L a n c e lo t* ' i s pub** i l i s h e d now f o r t h e f i r s t t i m e w i t h t h e a u t h o r ’s p e r m i s s i o n , ! 1 and w i t h h i s c o r r e c t i o n s . " 1 i ! ' I i s a c a n d i d , a r t l e s s , g r e y - e y e d , g o l d e n - h a i r e d h a l f - c h i l d t ; i h a lf-w o m a n ; and sh e may b e j u s t w h at L o u i s e D a u n e rs e v a l - 1 I u a t e s h e r t o b e : " p e r h a p s t h e l o v e l i e s t and m ost m oving j i o f R o b i n s o n l s f e m in i n e c h a r a c t e r s * " ^ H er b e a u t y i s t h e j b e a u t y o f i n n o c e n c e ; i n d e e d , h e r " f l a m e - w h i t e l o v e l i n e s s " J ( p . 647) i s a sym bol o f p u r i t y , f i d e l i t y , an d i n t e g r i t y , j I t i s t h i s " c h i l d who was a w om an/ B e f o r e sh e was a c h i l d " ! ( p . 651) t h a t T r i s t r a m m a r r i e s t o h e a l him o f t h e s o r r o w . f o r t h e l o s s o f t h e d a r k I s o l t . She i s t h e o n ly woman i n t h e A r t h u r i a n poems f o r whom R o b in s o n p r o v i d e s a f u l l - s c a l e i t h u m b n a i l s k e t c h ; i t i s s p o k e n by G a w a in e , a s he f l i r t s | w i t h I s o l t i n h e r g a r d e n i n B r i t t a n y ; j " I hav e b e e n s e e i n g yo u f o r some h o u r s , " he s a i d , "And I a p p r a i s e you a s a l l w o n d e r f u l* ! The l o n g e r I o b s e r v e and a p p r a i s e y o u , j The l e s s I becom e k i n g o f w o rd s ■ , To b r i n g them i n t o a c t i o n . T h ey r e t r e a t | And h i d e t h e m s e l v e s , l e a v i n g me as I may To make t h e m ost o f my d i s o r d e r e d r e m n a n t , U n w o rth y o f a l l e g i a n c e t o y o u r f a c e And a l l t h e r e s t o f you* You a r e suprem e I n a d e c e i t t h a t s a y s f r a g i l i t y i W here t h e r e i s n o t h i n g f r a g i l e , You h a v e e y e s T h a t a lm o s t w eep f o r g r i e f , s e e i n g fro m h e a v e n How t r i v i a l and how t r a g i c a s m a l l p l a c e T h i s e a r t h i s , an d s o make a s o r t o f h e a v e n | W here t h e y a r e s e e n . Y our h a i r , i f s h o r n and w o v en , The w h ic h may God f o r b i d , w o u ld t h e n become ' A n a m e le s s c l o t h o f g o l d w h i t e r t h a n g o l d , I m p r i s o n i n g l i g h t c a p t u r e d fro m p a r a d i s e . j Y our s m a l l e a r s a r e tw o n e c e s s a r y l e a v e s I O f l i v i n g a l a b a s t e r n e v e r o f e a r t h , 3"T he P e r n i c i o u s R i b : E* A* R o b i n s o n ’ s C o n c e p t o f F e m in in e C h a r a c t e r , " A m e ric a n L i t e r a t u r e , 1 5 :1 5 6 , May 1943*1 58 W h e re o f t h e f l o w e r t h a t i s y o u r f a c e i s m ade, And i s a p a r a d i s a l t r i u m p h also*— ! A lo n g w i t h y o u r g r e y e y e s an d y o u r g o l d h a i r ! T h a t i s n o t g o l d , O n ly God k n o w s, who made i t , 1 What c o l o r i t i s e x a c t l y , I d o n ’t know, The r e s t o f you I d a r e n o t e s t i m a t e , S a v i n g y o u r h a n d s an d f e e t , w h ic h a u t h o r i z e j A p e r i o d o f some l e i s u r e f o r t h e L o rd j On h i g h f o r t h e i r i n e f f a b l e e x e c u t i o n . Your low v o i c e t e l l s how b e l l s o f s i n g i n g g o l d i * W ould so u n d t h r o u g h t w i l i g h t o v e r s i l e n t w a te r * j Y o u r s e l f i s a c e l e s t i a l e m a n a tio n Compounded o f a w h i t e n e s s and a w arm th Not y e t s o n e a r t o h e a v e n , o r f a r fro m i t , As n o t t o l e a v e men w i s e r f o r t h e i r d ream s And d i s t a n c e s i n a p p r e h e n d i n g y o u , I Your s i g n a l i m p e r f e c t i o n , p r o b a b l y , I I s y o u r p e r i l o f h a v i n g e v e r y t h i n g , 1 ; And t h e r e b y o v e rw h e lm in g w i t h p e r f e c t i o n | ‘ A man who s e e s s o much o f i t a t o n c e , j | And s a y s no more o f i t t h a n I am s a y i n g , M ( ( p p . 657**658) ,No w o n d er G aw aine ’’s m i l e d w i t h i n j u r e d l o y a l t y / F or j T r i s t r a m i n a b a n is h m e n t l i k e t h i s ” ( p . 6 5 6 ) , j | B e a u t i f u l and l o v e l y a s t h e s e women a r e , b e a u t y and j l o v e l i n e s s a r e n o t t h e i r o n ly a s s e t s . O f t h e d a r k b e a u t - ; i e s , o n l y V i v i a n h a s an i n d i g e n o u s , s u s t a i n e d w a rm th . Not t h a t M organ and I s o l t o f I r e l a n d a r e w i t h o u t w i t an d c h arm , b u t t h e i r w i t and c h a rm d e p e n d a lm o s t e n t i r e l y on c ir c u m — | s t a n c e . M o rg an , upon a p p e a r i n g on t h e d a r k p a r a p e t o f T i n t a g e 1, t e l l s T r i s t r a m t h a t i t i s n o t so d a r k < B ut t h a t a woman s e e s ~ « i f s h e be c a r e f u l Not t o f a l l down t h e s e m em o rab le s t a i r s And b r e a k h e r n e c e s s a r y l i t t l e n e c k At T r i s t r a m ' s f e e t . And you m ig h t make o f t h a t O n ly a n o t h e r s m a l l f a m i l i a r tr i u m p h H a r d l y w o r th s i g h i n g f o r . ( p . 6 0 9 ) [ She p e r c e i v e s T r i s t r a m ’ s r e a s o n f o r n o t a t t e n d i n g t h e ! 59 , f e s t i v i t i e s , p r o m i s e s t o t e l l n o o n e , and t r i e s t o d i v e r t h i s c o n c e r n t o h e r s e l f , t e l l i n g h im : I t was a c l e v e r f o r e t h o u g h t o f t h e L o rd T h a t t h e r e s h o u l d be a woman o r tw o l e f t W ith e v e n I s o l t n o l o n g e r p o s s i b l e . A s c h o o l o f p r u d e n c e w o u ld e s t a b l i s h you j Among t h e many whose h e a r t s h a v e b l e d and h e a l e d * ! ( p . 610) !When T r i s t r a m a s k s h e r t o t a k e h i s m e ssa g e t o M ark , h e I I |a d d s t h e s t o c k , I ~ w i l l - a l w a y s - b e ~ y o u r ~ s l a v e p s e u d o - J 'h u m i l i t y . M organ r e p l i e s w i t h a s m i l e : j i ! We a r e t h e s l a v e s , I Not y o u . Not e v e n when m o st we a r e i n pow er j A re women e l s e t h a n s l a v e s t o men t h e y h o n o r* ; (p* 611) t iW hile t h e r e i s a c e r t a i n amount o f w i t and charm h e r e and j i .some p e r c e p t i o n o f h e r r o l e as t h e t o r c h t h a t i s t o l i g h t i ith e w o r l d , h e r w arm th and p e r c e p t i o n a r e c o l d , s e l f - ! i x o n t r o l l e d - - a l m o s t c o n t r i v e d . ! i ; j T h e r e a r e none o f t h e s a v i n g q u a l i t i e s t o be fo u n d i n j I s o l t o f I r e l a n d . T h i s I s o l t i s m o s t l y a c r e a t u r e o f f a t e , ! I I t i s o n l y a f t e r f a t e t u r n s f a v o r a b l y f o r h e r and sh e i s ig iv e n a n i d y l l i c summer w i t h T r i s t r a m t h a t t h e p a l l o f f e a r \ i i s s u f f i c i e n t l y r a i s e d f o r h e r t o b e l i g h t ; y e t , e v e n h e r e , j iher t a l k i s f u l l o f im p e n d in g doom, d e a t h , and s e p a r a t i o n * j 1 ! jWhen T r i s t r a m , f o r e x a m p le , goes t o o f a r , as do a l l l o v e r s , | and s t a t e s t h a t he w ould l o v e h e r e v e n i f sh e w ere t w i s t e d ! i i and d e f o r m e d , I s o l t r e p l i e s , . . . i f you saw me d e fo rm e d an d t w i s t e d , I ! You m ig h t s a i l b a c k t o B r i t t a n y s o f a s t ' 60 | T h a t a l l th e f i s h e s w o u ld be f r i g h t e n e d . N ev er p e r s u a d e y o u r s e l f t h a t you b e l i e v e * Or n e e d b e l i e v e * s o b o u n d l e s s l y a s t h a t . You w i l l be h a p p i e r i f you l e a v e t o me The lo v e o f som eone e l s e ’ s i m p e r f e c t i o n s . ( p p . 6 9 4 -6 9 5 ) 1 i j I s o l t ' s w arm th l i e s n o t i n charm n o r w i t b u t i n se lf* - , ; l e s s l o v e , a c h a r a c t e r i s t i c t h a t i s n o t b e y o n d V iv ia n ? i I V i v i a n i s , h o w ev er a n e a r p e r s o n i f i c a t i o n o f w i t and |c h a rm . I n t h a t f i r s t m e e t i n g i n t h e g a r d e n a t B r o c e l i a n d e , j i ' |V iv ia n * a l t h o u g h s u f f e r i n g i n n e r t u r m o i l a t M e r l i n ’s h a v in g j i a r r i v e d a t l a s t , makes p l e a s a n t s m a l l t a l k : O f h i s so le m n i 1 i .a p p e a r a n c e * sh e dem ands* j i ' i And s a y a t o n ce why you h a v e come t o me J j C lo a k e d o v e r l i k e a monk* a n d w i t h a b e a r d j As lo n g a s J e r e m i a h ’s . I d o n ’t l i k e i t . ! 1 I ’ l l n e v e r l i k e a man w i t h h a i r l i k e t h a t * 1 | ( P . 2 6 4 ) I .When sh e t o u c h e s t h e b e a r d , sh e a s k s * | M ust e v e r y p r o p h e t and i m p o r t a n t w i z a r d Be c l o u d e d s o t h a t n o t h i n g b u t h i s n o s e And e y e s , an d i n t i m a t i o n s o f h i s e a r s , A re t h e r e t o make u s know him when we s e e him ? ■ P r a i s e h e a v e n I ’m n o t a p r o p h e t . A re you g l a d ? i ; ( p . 26 6 ) ; i Then* a f t e r l a y i n g o u t a f e a s t f i t f o r s u c h a d i s t i n g u i s h e d ! : v i s i t o r and c r e a t i n g a r o m a n t i c s e t t i n g w i t h c a n d l e l i g h t I , an d s o f t m u s ic , sh e a n d M e r l i n h av e d i n n e r . M e r l i n i s s o | i • I 't a k e n by t h e m e a l t h a t s h e t e l l s h im , ! t I p u t m y s e l f o u t c r u e l l y t o p l e a s e y o u , ! And y o u , f o r t h a t , f o r g e t a lm o s t a t o n ce : The name and im age o f me a l t o g e t h e r . ; You n e e d n ’t , f o r w hen a l l h a s b e e n a n a l y z e d , I t ’s o n l y a b i r d - p i e t h a t you a r e e a t i n g . ( p . 2 7 3 ) 61 A f t e r d i n n e r s h e s e r v e s M e r l i n some a n c i e n t w in e , t h e l a s t o f h e r f a t h e r ’s b e s t w i n e , w h ic h s h e w a n ts t h i s n i g h t t o u s e up s o t h a t t h e r e w i l l b e no ’’l i v i n g re m n a n t o f t h e d e a d ” ( p . 2 7 5 ) t o an n o y h e r u n t i l i t s p o i l s fro m c h e r i s h i n g i t t o o lo n g : . , , f o r Time e n j o y s T he lo o k t h a t ’s on o u r f a c e s when we s c o w l i On u n e x p e c t e d r u i n s , and t h r i f t i t s e l f ! May be a s o r t o f s lo w unw holesom e f i r e T h a t e a t s away; t o d u s t t h e l i f e t h a t f e e d s You s m i l e , I s e e , b u t I s a i d w h at I s a i d . One h a r d l y h a s t o l i v e a t h o u s a n d y e a r s To c o n t e m p l a t e a l o s t econom y ; So l e t u s d r i n k i t w h i l e i t ’ s s t i l l a l i v e And you; and I a r e n o t u n t i m e l y a s h e s . ( p . I | V i v i a n h o l d s M e r l i n f o r t e n y e a r s w i t h h e r b e a u t y l ;ch a rm b e f o r e M e r l i n b r e a k s o f f t h e ro m an ce and r e t u r n s t o C a m e lo t. When h e com es a g a i n t o V i v i a n , s h e a s k s h im w hat A r t h u r t h i n k s o f h e r . M e r l i n t e l l s h e r , ! "The. K ing b e l i e v e s I T h a t you a r e a l m o s t w hat y o u . a r e , " he t o l d h e r s "The b e a u t y o f a l l a g e s t h a t a r e v a n i s h e d , ; R e b o rn t o b e t h e w o n d er o f one w om an,” ( p . 284) V i v i a n r e p l i e s : : " I knew he h a t e d me. What e l s e o f h im ? " ( p , 2 8 4 ) | O f t h e f a i r - h a i r e d b e a u t i e s , o n l y I s o l t o f B r i t t a n y l !seem s t o h av e s u c h a n a t u r a l w i t , G u in e v e r e i s more l i k e ;M organ a n d I s o l t o f ’I r e l a n d ; h e r w i t , when i t d o e s a p p e a r , grow s o u t o f s i t u a t i o n s and i s s h a r p , a t tim e s b i t t e r . An ex am p le i s fo u n d i n h e r e x c h a n g e w i t h L a n c e l o t a t J o y o u s G ard on t h e m o rn in g a f t e r s h e h ad f o u n d t h a t L a n c e l o t was i t , 2 7 5 ) and h e r 62 s e n d i n g h e r b a c k t o C a m e lo t and sh e h a d f a i n t e d . She t e l l s L a n c e l o t c o l d l y ? We women A re s u c h a d e p t i n v e t e r a t e s i n o u r sw o o n in g T h a t we f a l l down f o r jo y a s e a s i l y As we e a t one a n o t h e r t o show o u r l o v e , j - (p» 414) ! |And h e r e n t i r e h a n d l i n g o f L a n c e l o t a t A lm e s b u r y , g i v i n g .b a c k t h e arg u m e n ts* * -th e v e r y w o r d s « * t h a t L a n c e l o t h a d g iv e n i h e r a t J o y o u s G a rd , i n d i c a t e s h e r s h a r p n e s s * T h e re i s e v e n I b i t t e r n e s s i n t h i s : Have you w i s h e d , I w o n d e r, T h a t I was more l i k e V i v i a n , o r I s o l t ? j The d a r k o n e s a r e m ore d e v i o u s a n d more fa m o u s , j And men f a l l down more n u m e r o u s ly b e f o r e th em — I A lth o u g h I t h i n k m ore men g e t u p a g a i n , | And go away a g a i n , t h a n away fro m u s . j (pp, 444-445) I s o l t o f B r i t t a n y , on t h e o t h e r h a n d , h a s a l i g h t n e s s ! jo f w i t and c h arm fo u n d e l s e w h e r e o n l y i n V iv ia n * W h ile i ! w a i t i n g f o r T r i s t r a m , s h e i s t o l d by h e r f a t h e r t h a t sh e h a s e v e r y t h i n g a l r e a d y an d i s j u s t t o o young t o a p p r e c i a t e w h a t s h e h a s . She r e p l i e s : " I may be t h a t , ” s h e s a i d , and a q u i c k f l u s h Made a p i n k f o r a g e o f h e r l a u g h i n g f a c e , A t w h ic h h e s m i l e d a g a i n . "B ut n o t s o y o u n g ' As t o be t o l d f o r e v e r how you n g I am ." | ( p . 5 9 6 ) And when p a r r y i n g G a w a in e ’ s lo n g c o m p lim e n t, q u o t e d I e a r l i e r , sh e t e l l s h im , : You a r e n o t m ak in g lo v e t o me, ! G a w a in e , an d i f you w ere i t w o u l d n 't m a t t e r . Your w o r d s , an d e v e n w i t h e d g e s a b i t w o rn By t h i s t i m e , w i l l d o s e r v i c e f o r y e a r s y e t * 63 You w i l l n o t f i n d t h a t you h a v e d u l l e d th em much On me, an d you w i l l h a v e th e m w i t h you a l w a y s . ( p . 658) O f t h e A r t h u r i a n women* o n l y Q ueen M organ i s i n c a p a b l e o f t h e w arm th o f d e v o t i o n a n d s e l f l e s s n e s s . C e r t a i n l y V i v i a n Ts w a i t i n g tw e n ty y e a r s f o r t h e com ing o f M e r l i n and h e r p a t i e n c e f o r tw o y e a r s a f t e r h i s r e t u r n fro m Came l o t , w h i l e he made a ’’m i s t y t w i l i g h t . . . b e tw e e n h im and t h e i s u n / The s u n b e i n g V i v i a n " ( p . 2 8 6 ) , e x e m p l i f i e s d e v o t i o n . O f t h e f o r m e r , sh e s a y s t h a t sh e » . . saw no man a l i v e t o make h e r lo v e him T i l s h e saw M e r l i n o n ce i n C a m e l o t , And s e e i n g h im , saw no o t h e r . ( p . 2 6 3 ) Of t h e l a t t e r , when M e r l i n s p e a k s o f t h e t r o u b l e s o f t h e jw o rld , s h e s a y s , j W ith you I n e v e r c a r e d e n o u g h f o r them j To t h i n k o f th e m . ( p . 2 9 2 ) t jHer d e v o t i o n t o t h i s m an, who m akes o t h e r men " a s o r d i n a r y a s a r i t h m e t i c " ( p . 2 9 6 ) , c a n be s e e n i n h e r e v a l u a t i o n o f i iher w o r l d b e f o r e h i s a r r i v a l : | . . . I h a v e e a t e n t o a n em pty s h e l l . A f t e r a w e a ry f e a s t o f o b s e r v a t i o n | Among t h e g l o r i e s o f a t i n s e l w o r ld 1 T h a t h ad f o r me no g l o r y t i l l you cam e, A l i f e t h a t was no l i f e . ( p . 2 6 7 ) T h i s woman, t h i s V i v i a n , who i s " o u t o f T i m e / And o u t o f ^tune w i t h T im e " ( p . 2 8 0 ) , i s o u t o f tu n e w i t h e v e r y t h i n g b u t M e r lin y and i t i s t h r o u g h him t h a t sh e i s t o h a v e pur*« p o s e : 64 ; You a r e t h e o n l y one who s e e s e n o u g h , To make me s e e how f a r away I am From a l l t h a t I h a v e s e e n and h a v e n o t b e e n ; ■ You a r e t h e o n l y t h i n g t h e r e i s a l i v e ■ B e tw e e n me a s I am and a s I was When M e r l i n w as a d re a m . ( p . 28 0 ) I :T h e r e i s i n V iv ia n * how ever* a n i n t e n s e p e r s o n a l involve** I I Jment i n h e r r e l a t i o n s h i p w i t h M e r l i n . T h e r e i s a lw a y s t h e I " I " o r '’me” t o make i t an i n t e r p e r s o n a l r e l a t i o n s h i p . She ; n e v e r s e e s lo v e a s a o n e - s i d e d c o n c e p t . V i v i a n s e e s t h a t j t h e y m ust h o l d t o g e t h e r i n B r o c e l i a n d e o r p e r i s h : j ! . . . a lw a y s rem em ber t h a t o u r l y r e s ! A re n o t s t r u n g f o r T o d a y . On you i t f a l l s 1 F o r you h a v e w isdom , I h av e o n l y s i g h t j For d i s t a n t t h i n g s — and y o u . ( p . 28 1 ) j I ; I t i s o n l y t h r o u g h a p o o l i n g o f t h e i r t a l e n t s and d e v o t i o n ; ; i >to t h i s i n t e r p e r s o n a l r e l a t i o n s h i p t h a t t h e y may l i v e : j I Why d o n ’t yo u make somehow a q u e e n o f me* 1 j And g i v e me h a l f t h e w o r l d ? I ’d w a g e r t h r u s h e s , ! T h a t I s h o u ld r e i g n , w i t h you t o t u r n t h e w h e e l , \ | As w e l l a s any k i n g t h a t e v e r w a s . The c u r s e o n me i s t h a t I c a n n o t s e r v e A r u l e r who f o r g e t s t h a t h e i s k i n g . I s o l t o f I r e l a n d , on t h e o t h e r h a n d , c a n t r a n s c e n d i d e v o t i o n t o w h at m ig h t b e c a l l e d p u re * s e l f l e s s l o v e . She ; i i a r r i v e s a t t h e same p l a c e a s d o e s V iv ia n * b u t sh e s t a t e s j i h e r c a s e more p o w e r f u l l y ; i n d e e d , t h e p u r p o s e o f T r i s t r a m ; i .a p p e a r s t o be t o make c l e a r t h e c h a r a c t e r o f lo v e as j ^ d e v o tio n and s e l f l e s s n e s s . I s o l t ’s d e v o t i o n t o T r i s t r a m i s ' e x p r e s s e d i n t h a t b r i e f s c e n e on t h e p a r a p e t s o f T i n t a g e 1: Know me and lo v e me a s I was t h a t n i g h t , As I am now, an d a s I s h a l l be a l w a y s — j A l l y o u r s . . . . ( p , 6 2 4 ) • 65 T h i s i s I s o l t , who i s " a l l l o v e ” ( p . 6 2 4 ) , b u t i t i s n o t a s e l f - s e e k i n g l o v e . I t i s l o v e given, f r e e l y , g r a t u i t o u s l y ? s h e t e l l s T r i s t r a m t h a t he i s " a l l t h e r e i s i.n l i f e no w / j ‘T h a t I w o u ld l i v e f o r l o n g e r ’1 ( p . 6 2 5 ) , And l a t e r , a t { t ■Joyous G a r d , sh e t e l l s T r i s t r a m , "You a r e t h e w o r l d , j t T r i s t r a m / My w o r th i s o n l y w h a t i t i s t o y o u " ( p . 6 7 9 ) . I iT h is lo v e t r a n s c e n d s V i v i a n ’ s lo v e b e c a u s e i t t r a n s c e n d s ‘ > i | s e l f ? s h e t e l l s T r i s t r a m t h a t w h e n e v e r he t h i n k s o f h e r j j ! jhe i s t o j | See h e r a s s h e i s now *--alone w i t h y o u , | . And w i l l i n g e n o u g h t o b e a l o n e i n h e a v e n — Or h e l l , i f s o i t b e~ ~ an d l e t you l i v e Down h e r e w i t h o u t h e r f o r a t h o u s a n d y e a r s , : Were t h a t t h e way o f h a p p i n e s s f o r you* ! ( p . 682) ! H e rs i s n o t a lo v e o f p o s s e s s i o n o n l y : sh e i s f e a r f u l f o r T r i s t r a m ’s s a f e t y . She i s a l s o f e a r f u l t h a t h e r lo v e w i l l * f ibe a b u r d e n f o r him a f t e r s h e i s d e a d , f o r s h e i s aw are t h a t sh e w i l l n o t l i v e l o n g : ] 1 M ine i s a l i g h t t h a t w i l l go o u t some t i m e , ; T r i s t r a m , I am n o t g o i n g t o be o l d . j T h e r e i s a l i t t l e w atch m an i n my h e a r t ■ ! Who i s a lw a y s t e l l i n g me w hat t i m e i t i s . j j I ’ l l s a y t h i s once t o y o u , and n e v e r b u t o n c e , j ' To t e l l you b e t t e r why h a rm , f o r my p o o r s a k e . M ust n o t be y o u r s , . . . i I T h e r e i s y o u r w o r ld o u t s i d e , a l l fam e and b a n n e r s , | ! And i t was n e v e r m ine t o t a k e fro m y o u . i | You m ust n o t l e t me t a k e y o u r w o r l d away j i From y o u , a f t e r a l l t h i s . L ove i s n o t t h a t , I ( p . 695) I No l e s s d e v o t e d t o t h e i r men a r e t h e women o f l i g h t i , i b e a u t y . G u i n e v e r e ’s d e v o t i o n i s s i g n a l e d i n t h a t f i r s t : s c e n e w i t h L a n c e l o t . A f t e r L a n c e l o t c o n f e s s e s h i s f e a r f o r h e r s a f e t y b e c a u s e o f M odred, s h e r e p l i e s : Why do you f e a r f o r me w hen a l l my f e a r s Are f o r t h e n e e d l e s s b u r d e n you t a k e on? ; ( p . 381) T h i s d e v o t i o n i s m a r r e d b y h e r s e l f - p i t y a t J o y o u s G a rd , I !b u t i t i s sh e who i s f i n a l l y f i r m a t A lm e s b u r y , n o t L a n c e l o t . She t e l l s him t h a t s h e s t a n d s i n h i s way a n d , o v e r ; h i s p r o t e s t , s e n d s h im away on h i s p a t h t o t h e L i g h t o f I t h e G r a i l . I t i s a g r e a t g e s t u r e : "We h a v e h ad a l l t h e r e w a s , an d you w e re k i n d — ' E v e n w hen y ou t r i e d s o h a r d o n c e t o be c r u e l , ! I knew i t t h e n . . . o r now I d o . G o o d - b y e ." He c r u s h e d h e r c o l d w h i t e h a n d s an d saw th em f a l l i n g ; Away fro m him l i k e f l o w e r s i n t o t h e g r a v e , j When s h e lo o k e d up t o s e e h im , he was g o n e ; ; And t h a t was a l l s h e saw t i l l s h e awoke i I n h e r w h i t e c e l l , w h e re t h e nu n s c a r r i e d h e r t W ith many t e a r s and many w h i s p e r i n g s . (pp» 4 4 6 -4 4 7 ) I I s o l t o f B r i t t a n y d i f f e r s fro m G u i n e v e r e — and fro m th e d a r k b e a u t i e s a s w e l l — i n t h a t h e r b e a u t y and w arm th a r e t o t a l l y c o m m itte d t o T r i s t r a m fro m t h e b e g i n n i n g e v e n th o u g h sh e knows t h a t i t w i l l n e v e r l a s t : "He w i l l come i I b a c k , " sh e t e l l s h e r f a t h e r a t t h e b e g i n n i n g o f t h e poem, " a n d w h at comes t h e n I l e a v e t o h im , and God" ( p , 6 0 0 ) . j I s o l t a c c e p t s , a l t h o u g h s h e d o e s n o t u n d e r s t a n d , T r i s t r a m t s ' p a r t i a l l y - c o m m i t t e d l o v e : ; I am n o t one who m u st h a v e e v e r y t h i n g , I was n o t f a t e d t o h a v e e v e r y t h i n g . | One may be w is e e n o u g h , n o t h a v i n g a l l . S t i l l t o be fo u n d among t h e f o r t u n a t e . ( p . 654) 67 i A lo n e i n B r i t t a n y , a f t e r l e a r n i n g o f T r i s t r a m * s d e a t h , she t e l l s h e r f a t h e r , ; I w o u ld h a v e b e e n t h e w o r ld And h e a v e n t o T r i s t r a m , an d w as n o t h i n g t o h im ; And t h a t i s why t h e n i g h t came down s o d a r k j On me when T r i s t r a m d i e d . ( p . 7 2 7 ) j ! She h a s g i v e n h e r s e l f c o m p l e t e l y t o T r i s t r a m , k n o w in g t h a t | f i 't h e lo v e was n o t f a t e d t o l a s t . She h a s g i v e n h e r s e l f ■ t o t e a c h and h e a l t h e b r o o d i n g T r i s t r a m , a g i f t o f s e l f * > j I l e s s d e v o t i o n * She h a s h e l d h im w i t h h e r d e l i c a t e and ; l o v e l y s t r e n g t h f o r a s much t im e a s f a t e h a s a l l o w e d : [ j He h ad b e e n a l l , i ; And w o u ld be a lw a y s a l l t h e r e was f o r h e r , j i And he h a d n o t come b a c k t o h e r a l i v e , I ■ Not e v e n t o go a g a i n . I t was l i k e t h a t ; i F o r woman, s o m e tim e s , and m ig h t b e s o t o o o f t e n j • F o r woman l i k e h e r . (pp» 7 2 8 * 7 2 9 ) ! One m a jo r c h a r a c t e r i s t i c , t h e n , o f R o b i n s o n ’s A r t h u r * j ;i a n women a n d , t h u s , o f ” t h e t o r c h o f woman” i s t h e c a p a c * I ! i i t y f o r b e a u t y an d w a rm th . T h e se women g i v e t h e i r men p h y s i c a l and s p i r i t u a l b e a u t y , w i t h o u t w h ic h m an’s w isdom ,w o u ld be i n c o m p l e t e , h i s l i f e b u t h a l f l i v e d . I t i s i n j ,woman’s w o r ld t h a t man i s h u m a n iz e d ; and t h e w o r ld t h a t | ' t h e s e men e n t e r i s a l l t h e i r w o r l d . T h e s e women a r e | I ; * c a p a b l e o f b i n d i n g d e v o t i o n and s e l f l e s s l o v e . I t i s f o r j ‘t h e i r men t h a t t h e y l i v e , a f a c t t h a t E d a Lou W a lto n f i n d s 1 \ • » d i s t u r b i n g : . { R o b in s o n ’ sj women . . . a r e b u t p r o j e c t i o n s o f some n e e d i n man. . . . None o f th em do a n y t h i n g e x c e p t t o a n s w e r j 6 8 men o r r e f u s e t o a n s w e r th e m . They a r e a b s o l u t e l y w o r t h l e s s a s f i n e c r i t i c s o f l i f e , a s c o m m e n ta to rs upon t h e d e e p e r s i g n i f i c a n c e o f l i v i n g , 4 T h a t t h e women i n t h e A r t h u r i a n poems a r e " p r o j e c t i o n s o f j I some n eed i n man" i s t r u e j i t may e v e n be t r u e as a l a r g e r , I I g e n e r a l i z a t i o n t h a n M iss W a lto n i n t e n d e d ! t h e y a r e p r o j e c t i o n s o f some n e e d i n m a n k in d , i n l i f e . Woman, t h i s ( " t o r c h o f w om an," i s t h e s o i l w h e r e i n l i f e t a k e s r o o t , ■Her w a r m th - ~ h e r w i t , h e r ch a rm , h e r d e v o t i o n , and h e r s e l f - i j l e s s n e s s — and h e r b e a u t y and l o v e l i n e s s p r o v i d e t h e p h y s i — ! jc a l and s p i r i t u a l c o u n t r y an d c l i m a t e f o r t h e g ro w th o f ■ l i f e . W ith o u t t h i s w arm th and b e a u t y man i s n o t c o m p l e t e , ! 'no m a t t e r how much w isd o m , e x p e r i e n c e , s e n s i t i v i t y , o r ' L i g h t he h a s . Nor c a n h e be s a v e d fro m T im e , F a t e , and ! 1 I Change w i t h o u t h er* He c a n n o t be s a v e d e v e n fro m h i s own j t , w o r l d w i t h o u t " t h e t o r c h o f w om an," ; I 1 4 " R o b i n s o n , s Women," N a t i o n , 1 3 7 :4 1 5 , O c to b e r 11, • 1933. CHAPTER V THE TORCH OP WOMAN: POWER A t o r c h h a s n o t o n l y b e a u t y and w arm th b u t a l s o pow er The " t o r c h o f w om an," t h e n , m u st p o s s e s s e n e r g y , T h i s i m p l i e s some i n t e n s i t y o f h e a t and some i n f l u e n c e on i t s e n v ir o n m e n t* R o b i n s o n ’s A r t h u r i a n women i l l u s t r a t e e n e r g y jby p a s s i o n an d e m o t i o n a l i s m , i m p u l s i v e a c t i o n , c o n c e p t s o f isex and s i n , an d s t r e n g t h o f e x p r e s s i o n . T h e y i l l u s t r a t e I j i n f l u e n c e by t h e s e d u c t i o n o f r e a s o n o r p r i n c i p l e o r d u t y , I ^ s e l f i s h n e s s o r v a n i t y , and t h e c a p a c i t y t o b l i n d o r d e l a y a c t i o n . E a c h o f R o b i n s o n ’s women, w i t h t h e p o s s i b l e e x c e p t i o n i !o f I s o l t o f B r i t t a n y , i s c a p a b l e o f g r e a t p a s s i o n . Two o f .them , I s o l t o f I r e l a n d and G u i n e v e r e , a r e c h a r a c t e r i z e d i n ila rg e p a r t by p a s s i o n ; and V i v i a n c a n r e l e a s e h e r s e l f t o 'p a s s i o n when t h e s i t u a t i o n dem ands s u c h a r e l e a s e * The f i r s t i n d i c a t i o n o f t h e pow er t h a t V i v i a n w i e l d s may be i 'found d u r i n g t h e c a n d l e * - l i t d i n n e r a t B r o c e l i a n d e , A f t e r h a v i n g s t r i p p e d M e r l i n o f h i s som ber ro b e and h i s w i z a r d ’s I .b eard and p a r r i e d t h e l i g h t t a l k a t d i n n e r , sh e s e t s f i r e t o him w i t h " e y e s t h a t made a f u e l o f t h e n i g h t " u n t i l ^C o l l e c t e d Poems (New Y o rk , 1 9 3 7 ) , p , 2 7 6 , A l l ref*** e r e n c e s t o R o b i n s o n ’s p o e t r y a r e t o t h i s t e x t . 70 | He d r a n k , n o t know ing w h a t , n o r c a r i n g much F o r k i n g s who m ig h t h a v e c a r e d l e s s f o r t h e m s e l v e s , He t h o u g h t h a d a l l t h e d a r k n e s s and w i l d l i g h t T h a t f e l l t o g e t h e r t o make V i v ia n B een t h e r e b e f o r e th e m t h e n t o f l o w e r anew T h ro u g h s h e a t h i n g c r i m s o n i n t o c a n d l e - l i g h t W ith e a c h new l e e r o f t h e i r l o o s e , l i q u o r i s h e y e s . <P«. 276) Y e t , V i v i a n g i v e s m ore t h a n a l o o k : j i She r a i s e d h e r f a c e and y o k e d h i s w i l l i n g n e c k 1 W ith h a l f h e r w e i g h t ; and w i t h h o t l i p s t h a t l e f t ! The w o r ld w i t h o n l y one p h i l o s o p h y , F o r M e r l i n o r f o r A n a x a g o r a s , ; C a l l e d h i s t o m eet th em i n one lo n g h u s h j Of c a p t u r e t o s u r r e n d e r and make h e r s The l a s t o f a n y t h i n g t h a t m ig h t r e m a in ; O f w hat was now t h e i r b e a r d l e s s w i z a r d r y . ( p . 2 7 1 ) | And w h i l e by m i d « t w e n t i e t h c e n t u r y m o ra l s t a n d a r d s h e r j i | C o n q u e s t m ig h t seem co m m o n p lace, V i v i a n ’s im m e d ia te j * i s e d u c t i o n o f t h e v e n e r a b l e , m a tu re M e r l i n i s a s i n g u l a r I l a c h i e v e m e n t . j S uch r e l e a s e t o p a s s i o n i s more c o n t r o l l e d i n I s o l t j iof I r e l a n d , R o b in s o n g i v e s h e r i m p l i e d p a s s i o n : c h a r a c - | t e r s i n t h e poems t a l k a b o u t I s o l t ' s p a s s i o n and h e r ( c a p a c i t y t o a r o u s e , s u c h a s L a n c e l o t ’s comment t h a t no man j who g a z e d o n h e r m ig h t s a y a g a i n h i s p r a y e r s " w i t h o u t a ' p e n a n c e o r an a b s o l u t i o n " ( p . 3 7 7 ) , b u t t h e r e i s l i t t l e I i I d i r e c t p r e s e n t a t i o n o f h e r p a s s i o n . On t h e p a r a p e t s o f i l ‘ T i n t a g e l w i t h T r i s t r a m , t I She t r e m b l e d i n h i s a rm s , and w i t h a c r y Of s t r i c k e n lo v e g a v e a l l t h e r e was o f h e r T h a t sh e c o u ld g i v e t o him i n one more k i s s I n w h ic h t h e w o r l d was m e lte d and was n o t h i n g F or th em b u t l o v e , . . . ( p . 626) 71 . R o b in s o n seems t o f e e l t h a t t h e i m p l i c a t i o n o f h e r p a s s i o n i s s o s t r o n g t h a t l i t t l e n e e d be s a i d t o i l l u s t r a t e i t ; and when he d o e s p o r t r a y h e r p a s s i o n , i t seem s more a s an a f t e r t h o u g h t t h a n a r e a l a t t e m p t t o b r i n g t h e p a s s i o n t o i l i f e : i [ f 'r i s t r a m j f e l t h e r body t h r o b b i n g As i f i t h e l d a la u g h b u r i e d a l i v e , And s u d d e n ly he f e l t a l l h i s e l o q u e n c e H ushed w i t h h e r l i p s . L i k e a w i l d w in e h e r lo v e Went s i n g i n g t h r o u g h him and a l l o v e r h im . ( p , 6 8 7 ) ; j T h e r e i s e v e n l e s s d i r e c t p o r t r a y a l o f G u i n e v e r e ’s ; . p a s s i o n ; y e t , t h r o u g h o u t L a n c e l o t - —a s w e l l as i n t h e o t h e r ; j : {poems — G u i n e v e r e ’ s p a s s i o n i s v e r y s t r o n g l y i m p l i e d , , i | jThere i s v e r y good r e a s o n f o r t h i s : t h e r e a r e no lo v e ; I i {scenes i n L a n c e l o t ; t h e p a s s i o n m ust be g iv e n by i n d i r e c - j t i o n . The n e a r e s t t o a lo v e s c e n e i s t h e m e e tin g i n t h e ! g a r d e n a t C a m e lo t, a t t h e c o n c l u s i o n o f w h ich G u in e v e r e 1 I ! b u r n s L a n c e l o t w i t h h e r b r e a s t s and l i p s and i n v i t e s him t o !th e f a t e f u l t r y s t i n h e r q u a r t e r s . Y e t , h e r p a s s i o n i s common kno w led g e o f t h e c o u r t . L am o rak s p e a k s o f h e r as i jth e ’’e a s y Q u een ” who had ’’th ro w n s p a r k s a l r e a d y / On t h a t jP ie c e o f t i n d e r , L a n c e l o t ” ( p . 2 4 5 ) , And, r e a l i z i n g h e r I * {power, t e n d s t o u n d e r s t a n d L a n c e l o t ’s a t t r a c t i o n t o h e r : j ! I t h i n k I ’ l l b lo w my h o r n f o r L a n c e l o t ; ' : For by my s o u l a m an’ s a s o r r y c a s e ! When G u i n e v e r e s a r e o u t w i t h e y e s t o s c o r c h h im : I ’m n o t s o a n c i e n t o r so f r o z e n c e r t a i n T h a t I ’d r i d e h o r s e s down t o s k e l e t o n s ; I I f s h e w ere a f t e r me. ( p p , 2 4 6 -2 4 7 ) 72 More a p a r t o f R o b i n s o n ’s c h a r a c t e r i z a t i o n o f G u in e - v e r e i s h e r e m o t i o n a l a b a n d o n . P a c e d w i t h t h e l o s s o f h e r l o v e r when L a n c e l o t d e c i d e s t o s e n d h e r away fro m J o y o u s G a rd , sh e r a t h e r comes a p a r t a t t h e c h a r a c t e r o l o g i c a l s e a m s , l o s i n g h e r c o m p o s u re , t h e n h e r s e n s e o f r e a s o n , and f i n a l l y h e r d i g n i t y . When sh e s e e s t h a t L a n c e l o t r e a l l y means t o r e t u r n h e r t o A r t h u r , h e r a rg u m e n ts become emo t i o n a l , p l a y i n g on L a n c e l o t ’ s s y m p a t h i e s ; s h e c o m p a re s i ■ h e r s e l f t o a c h i l d ' s f a n c y and a s k s L a n c e l o t w h at a c h i l d ;does w i t h a w o r n - o u t d o l l ; t h e n she re m in d s h im o f h i s i b r i n g i n g h e r t o A r t h u r an d a s k s i f he t h o u g h t h e r a q u e e n t j t h e n ; n e x t , s h e p l e a d s t o r u n away w i t h h im t o F r a n c e a n d , ■when t h i s f a i l s , a s k s t o be a l l o w e d t o go t h e r e t o p i n e iaway i n h e r o l d a g e ; s h e t h e n a c c u s e s L a n c e l o t o f m e r e l y j i ; • I I t i r i n g o f h e r ; t h e n , sh e a s k s h im t o k i l l h e r ; and l a s t sh e ! | | [ m o v e s t o r a m b l i n g d e s p a i r and v a n i t y ( " P o o r Q u een I P o o r j f „ I G u in e v e r e * V sh e c r i e s , f a l l i n g t o h e r k n e e s , "Have I becom ej (so. c h e a p a s t h i s ? " £pp. 4 2 4 - 4 2 5 J ) , u n t i l f i n a l l y t h e r e i s | no o t h e r so u n d t h a n " a low m oaning o f a b r o k e n woman" j !<P. 4 2 6 ) . I I j Such a n e m o t i o n a l c o l l a p s e as G u i n e v e r e ’s i s s e e n a l s o j i f i [in V i v i a n , Q ueen M o rg a n , and I s o l t o f B r i t t a n y . V i v i a n ’s j \ i o u t b u r s t comes a f t e r M e r l i n ’s s t o r y o f a k i n g , a q u e e n , andJ 'a kingdom an d t h e i r s i n f u l m a t e r i a l i s m ; V i v i a n t e l l s M e r l i n ' t o t a k e h i s k i n g s and q u e e n s and s i n s away an d b u r y th em ; 73 ; 'T h i s w o r ld o f y o u r s / W i l l s u r e l y be t h e en d o f u s . And why n o t ? / I ’m o v erm u ch a f r a i d w e ’r e p a r t o f i t ” ( p . 2 9 2 ) , But w h a t sh e s e e s , a s d i d G u i n e v e r e , i s w a s t e , ” a w a s te o f l i f e / And more t h a n l i f e ” ( p . 3 8 1 ) : j I You made him [ A r t h u r ] k i n g : B e c a u s e you lo v e d t h e w o r ld and saw i n him ; From i n f a n c y a m i r r o r f o r t h e m i l l i o n s , : The w o r ld w i l l s e e i t s e l f i n h im , and t h e n i The w o r ld w i l l s a y i t s p r a y e r s an d wash i t s f a c e j And b u i l d f o r some new k i n g a new f o u n d a t i o n , ’ ( Long l i v e t h e k i n g ’ ( p . 2 9 3 ) * J A n o th e r s u c h o u t b u r s t i s Q ueen M o rg a n ’s when sh e re** ; l e a s e s T r i s t r a m , a f t e r h a v i n g f a i l e d t o w in h i s l o v e : j W ith a n g e r i n h e r e y e s and i n j u r i e s t Of h i s i n d i f f e r e n c e e n v e n o m in g ! The venom i n h e r p a s s i o n a n d h e r p r i d e , « She l e t him go*--though n o t w i t h o u t a la u g h ■ I T h a t f o l l o w e d him l i k e s t e e l p i e r c i n g u n s e e n > i H is f l i g h t away fro m h e r w i t h G o u v e r n a i l . ( p . 642) : I s o l t o f I r e l a n d , t o o , h a s h e r moment o f e m o t i o n a l ab an d o n * I At t h e o p e n in g o f t h e lo v e s c e n e on t h e p a r a p e t s o f T in ta -* g e l , s h e comes s l o w l y , r e g a l l y , down t h e s t a i r s ; t h e n , w hen, I sh e s p e a k s T r i s t r a m ’s nam e, t h e r e s e r v e v a n i s h e s and s h e j 'd a s h e s i n t o h i s arm s c r y i n g , "What h a v e we d o n e / To F a t e , j I t h a t s h e s h o u ld h a t e u s an d d e s t r o y u s ? ” ( p , 6 1 4 ) . | i I n a d d i t i o n t o e m o t i o n a l i s m , t h e A r t h u r i a n women a r e 1 ! o f te n c h a r a c t e r i z e d by i m p u l s i v e a c t i o n . A t tim e s t h e y j seem t o f l y i n t h e f a c e o f t i m e , o f f a t e , o f c h a n g e , and o f j c i r c u m s t a n c e . T h i s i s c l e a r l y t r u e o f G u i n e v e r e , Not o n ly i n t h e g a r d e n , w h e re sh e p r e c i p i t a t e s t h e t r a g e d y by refus** { in g t o s e e L a n c e l o t ’ s f a c t s o f l i f e , b u t a t Jo y o u s G a rd , 74 sh e a p p e a r s b e n t on s a v i n g h e r lo v e a t a l l c o s t s . She i s a " t y p e o f g ra n d e a m o u r e u s e " ( C e s t r e , p . 2 0 5 ) , who a s q u e e n o f b e a u t y and s e d u c t i o n , h a s s t a k e d h e r w h o le b e i n g on t h e a d v e n t u r e o f h e r g u i l t y l i a i s o n and h a s b e e n t r i u m p h a n t i n t h e g r a t i f i c a t i o n o f h e r w i l d d e s i r e , and i s now s u d d e n ly c o n f r o n t e d w i t h h e r l o v e r ’s r e c o g n i t i o n o f a p a s s i n g w o r ld and w i t h h i s d e c i s i o n t o s e e k away fro m h e r t h e l o n e l y p a t h ■of t h e L i g h t . She now h o l d s t o L a n c e l o t w i t h t h e t e n a c i t y ! 'o f one who f e e l s t h a t i f s h e l o s e s him sh e g i v e s away a l l 'r e a s o n t o l i v e . B e c a u s e s h e s e e s n o t L a n c e l o t ’ s L i g h t o f 'a. b e t t e r w o r ld t h a n A r t h u r ’ s , sh e i s l o s t i n Tim e and a t i t 'the mercy o f Change and is unwilling to accept the present Jcircumstance. She passes through the pathetic phases o f i ( l o v e ’ s ag o n y > -~ fu ry , r e p r o a c h , i m p l o r i n g , a n d f r a n t i c imag<~ 'in in g -— s o t h a t h e r a t t e m p t t o h o l d L a n c e l o t a t a l l c o s t r e a c h e s a c l i m a x o f p a t h e t i c a p p e a l . The p a t h o s o f t h e s c e n e s a t J o y o u s G ard a r i s e s fro m t h e h e a r t ~ t o r t u r e w h ic h c o o l r e a s o n and m o r a l s c r u p l e i n f l i c t on t h o s e who h a v e p u t I ( t h e i r i d e a l i s m i n l o v e . L a n c e l o t r e a l i z e s t h a t t h i s splen*- ! d i d i l l u s i o n , now s o f o r c i b l y r e p r e s e n t e d i n G u i n e v e r e ’s r e f u s a l t o a c c e p t r e a l i t y a s h e s e e s i t , c a n n o t r e s i s t t h e e n c o u n t e r w i t h h i g h e r and more p e rm a n e n t i d e a l s , . T h a t G u i n e v e r e , t o o , r e a l i z e s t h i s and l a t e r h o l d s L a n c e l o t t o h i s L i g h t makes t h e i r t r a g e d y ’’t h e p e c u l i a r l y human one o f 75 p a c h i e v i n g c l a r i t y w i t h o u t g a i n i n g s t r e n g t h . I t i s i n t h i s s e n s e t h a t F l o y d S t o v a l l f e e l s t h a t " G u i n e v e r e ’s l o s s i s g r e a t e r a n d m ore p a t h e t i c t h a n V i v i a n ’s , p e r h a p s b e c a u s e O i t i s m ore h u m a n ." I t may, h o w e v e r, b e n e c e s s a r y t o a ssu m e t h a t V i v i a n was m o t i v a t e d m ore by v a n i t y t h a n by l o v e i n h e r d e s i r e t o g e t a n d t o h o l d M e r l i n f o r S t o v a l l ’s e v a l u a t i o n t o b e t r u e : t h e f a i l u r e o f V i v i a n ’s l o v e r e s u l t s fro m a f l a w i n V i v i a n h e r s e l f , w h i l e G u i n e v e r e ’s t r a g e d y l i e s o u t s i d e h e r s e l f i n t h e c h a n g i n g t i m e s , f o r h e r l o v e h a s b e e n m o ld ed Ito t h e c o d e o f c h i v a l r y , a n d when t h i s p a s s e d , t h e o l d l o v e no l o n g e r h a d m e a n in g . B ut i f V i v i a n i s s e e n a s much a t - i ipawn o f C hange a s G u i n e v e r e a n d no m ore s e l f - s e e k i n g t h a n j |she, Vivian's loss is as great. Vivian attempts to defy Jxime and Change and circumstance by holding Merlin in I B r o c e l i a n d e a n d by s h u t t i n g o u t h i s w o r l d o f k i n g s an d s i n s . S h e g i v e s him h e r p r e c i o u s cu p o f w i n e , w h ic h s i g n i - ! j f i e s t h e i r d e ta c h m e n t f ro m e v e r y t h i n g b u t t h e i r p r e s e n t !and f u t u r e h a p p i n e s s i n t h e w a l l e d a n d h e a v i l y - g a t e d B r o - ! c e l i a n d e ; b u t i n s p i t e o f h e r a t t e m p t , t h e w in e c o n t a i n s [ " s p e c k s . " T h a t i s , w h e th e r V i v i a n c h o o s e s t o r e c o g n i z e j ! i 2 M ark Van D o re n , Edw in A r l i n g t o n R o b in s o n (New Y o rk , 1 9 2 7 ) , p . 7 1 . ~ ^ " T h e O p tim ism b e h i n d R o b i n s o n ’ s T r a g e d i e s , " A m e ric a n L i t e r a t u r e , 1 0 : 1 4 , M arch 1 9 3 8 . Merlin’s kings and queens and pits and sins or not, they a r e i n f a c t p a r t o f t h e b a g g a g e t h a t M e r l i n b r i n g s w i t h him! f ro m C a m e l o t . And w h e t h e r o n e c o n s i d e r s t h e s e " s p e c k s " ! a s t h e s i g n s o f im p e n d in g doom o r sy m b o ls o f d u t y a n d p r i n c i p l e o r a s s i g n s o f t h e a f f l i c t i o n s o f r e a l i t y , i t i s a t t h i s p o i n t t h a t V i v i a n ’s w o r l d p a r t s fro m M e r l i n ’s ; f o r V i v i a n w i s h e s To make o f t h i s B r o c e l i a n d e a r e f u g e W here two d i s h e a r t e n e d s i n n e r s may f o r g e t A w o r l d t h a t h a s t o d a y no p l a c e f o r th e m . ( p . 291) * ! | W ith V i v i a n ’s u n w i l l i n g n e s s t o r e c o g n i z e t h e r e a l w o r l d o f : * I d u ty a n d t i m e a n d c i r c u m s t a n c e , M e r l i n f e e l s t h e ’’sw o rd o f h i s c o l d a n g e l [ c h a n g e ] t h r u s t / And t w i s t e d i n h i s h e a r t ” I ! I i(p . 2 9 4 ) . I t i s , t h e n , a v i c t o r y f o r C h an g e a n d T im e, a s ; f ; jF a te ( A r t h u r ) c a l l s M e r l i n b a c k ; o r i t i s a v i c t o r y f o r j m o r a l i t y ( d u ty ) a n d r e a s o n ( c a p a c i t y t o d e a l w i t h r e a l i t y ) ‘ lover l o v e ( p e r s o n a l i n d u l g e n c e ) . So V i v i a n , who h a s h o p e d i t h a t M e r l i n "w o u ld k e e p t h e w o r l d aw ay” ( p . 2 8 2 ) , f i n d s i j ’ T im e , C h a n g e , a n d F a t e t o o s t r o n g : M e r l i n ’ s i n t e l l e c t u a l i ( t i e s w i t h l i f e a n d Tim e (C a m e lo t) f i n a l l y becom e in co m p at-. ; j ' i ‘i b l e w i t h V i v i a n ’s l o v e an d h e r T i m e - l e s s n e s s . M e r l i n h a s 1 j i w isd o m , a n d V i v i a n h a s b u t s i g h t f o r d i s t a n t t h i n g s . I i ■ l I s o l t o f I r e l a n d ’s d e f i a n c e o f T im e , F a t e , a n d r e a l i t y I i s m ore s u c c e s s f u l . H er i m p u l s i v e , w i l d e s c a p e t o t h e ' i f re e d o m o f l o v e a t J o y o u s G a rd i s i m p e l l e d by r e v o l t . H er j 7 7 ; r a s h n e s s , w h ic h h a d b e e n c u r b e d by I r i s h p r i d e a n d o b e d i e n c e t o f o r m a l la w , h a s b e e n f e d by t h e i n d i f f e r e n c e o f h e r f a t h e r , t h e b l i n d n e s s o f t h e y o u n g T r i s t r a m , a n d h e r h a t e f o r h e r h u s b a n d . I t i s s h e who b r e a k s t h r o u g h t h e w a l l s o f f e a r a n d g o e s t o T r i s t r a m . I s o l t s im p l y i g n o r e s t h e d u a l a d u l t e r y , t h e p o s s i b i l i t y o f M a rk ’ s r e t a l i a t i o n , a n d t h e p r o b a b i l i t y t h a t t h e i r t i m e t o g e t h e r w i l l b e v e r y l i m i t e d . S he g i v e s h e r s e l f t o T r i s t r a m —*"You a r e t h e w o r l d , T r i s t r a m , / My w o r t h i s o n l y w h a t i t i s t o y ou" ( p . 6 7 9 ) —e n d s c h o o l s him a b o u t T i m e - - " Y e a r s a r e n o t l i f e ; / Y e a r s a r e b u t . ■the s h e l l s o f l i f e ” ( p . 6 8 5 ) - - u n t i l T r i s t r a m c a n u n d e r s t a n d ’ | 1 i t h a t " T h e r e i s a l o v e t h a t w i l l o u t s h i n e t h e s t a r s " i i I ( p . 6 9 0 ) . j I T h i s l e s s o n d o e s n o t d i f f e r g r e a t l y fro m V i v i a n ’s - - j t j j"rem em ber t h a t o u r l y r e s / A re n o t s t r u n g f o r T o d a y " j I I ! ( p . 2 8 ; ) - - b u t T r i s t r a m a c c e p t s l i f e o n I s o l t ’s te r m s w h ere ! * ! i ^M erlin d o e s n o t a c c e p t l i f e on V i v i a n ’s t e r m s . M e r l i n (a n d ; | V i v i a n w i t h him ) f a i l s a n d e n d s i n d a r k n e s s ; T r i s t r a m (a n d j I s o l t o f I r e l a n d w i t h him ) s u c c e e d s a n d a c h i e v e s p e a c e , i n j i s p i t e o f T im e, F a t e , C h a n g e , a n d c i r c u m s t a n c e . j i I s o l t o f B r i t t a n y ’s d e f i a n c e i s o f a d i f f e r e n t k i n d . | i i 'H ers i s a n e g a t i v e , p a s s i v e r o l e , s o s t r o n g t h a t n e g a t i v i t y | 1 i b e c o m e s a p o s i t i v e f o r c e ( i n t h e same way t h a t p a s s i v e r e s i s t a n c e i s a p o s i t i v e f o r c e ) . Even th o u g h s h e knows I t h a t T r i s t r a m t h i n k s o f h e r a s a c h i l d , t h a t h i s h e a r t i s 78 w i t h I s o l t o f I r e l a n d , t h a t h e r h o l d o v e r h i® i s t e m p o r a r y , ( a n d t h a t h e i s f a t e d t o d i e r a t h e r t h a n t o r e t u r n t o h e r , s h e s t i l l b r i n g s a b o u t t h e m a r r i a g e , t h u s c r e a t i n g a s e c o n d t r i a n g l e a n d m ak in g a d u a l a d u l t e r y . The e m o t i o n a l i s m a n d i m p u l s i v e n e s s o f t h e A r t h u r i a n women seem s t o b e b o r n o f c a r p e diem p h i l o s o p h y : t h e y p r e - , f e r t h e p r e s e n t w i t h a l l i t s d o u b t s a n d d a n g e r s t o t h e f u t u r e w i t h i t s i n e v i t a b l e s h a d o w s, G u i n e v e r e , I s o l t o f I r e l a n d , I s o l t o f B r i t t a n y , a n d V i v i a n d e f y t i m e a n d d u t y j a n d c i r c u m s t a n c e f o r i n e v i t a b l e t r a g e d y i n p r e f e r e n c e t o ! i t h e ’’d a r k " a n d " s h a d o w e d ” a n d ’’s p e c k l e d ” f u t u r e . R e a so n j | m e r e l y c a s t s a d a r k shadow on t h e f u t u r e , a n d c o n s c i e n c e M e r e l y b r o o d s o v e r p o s s i b l e c o n s e q u e n c e s ; im p u l s e m o t i v a t e s j a c t i o n , j j R e l a t e d t o t h i s i m p u l s i v e n e s s o f t h e A r t h u r i a n women I ! I i !i s t h e i r c o n c e p t* o f s e x a n d s i n . Each o f t h e poem s i n « I ;V o lv e s e x t r a m a r i t a l r e l a t i o n s o r a d u l t e r y ; y e t o n l y i n ; I IM e r l i n i s t h e c o n c e p t o f s i n d i s c u s s e d . E a c h o f t h e poems j 1 j i s a l o v e s t o r y , b u t t h e b i o l o g i c a l o r i n s t i n c t u a l b a s i s j I f o r lo v e i s m e r e ly a c c e p t e d a n d a s s i g n e d i t s p l a c e w i t h i o t h e r n a t u r a l c o n d i t i o n s . S e x i s a p h y s i c a l f a c t , b u t l i k e o t h e r p h y s i c a l f a c t s , i t i s i m p o r t a n t o n ly i n r e l a t i o n t o j 1 , I . r e a s o n , w i l l , a n d a f f e c t i o n . I n t h e s e p o e m s, i t i s m o t i v e , ' i n o t a c t i o n , t h a t c o u n t s ; t h u s , t o R o b in s o n * s women, m o r a l i t y a n d l e g a l i t y , o r m o r a l i t y a n d s e x , a r e d i f f e r e n t 7 9 I I things. These women, then, are basically amoral beings. I t i s s i g n i f i c a n t a l s o t h a t R o b in s o n e x p e n d s so few l i n e s t o e i t h e r p h y s i c a l p a s s i o n o r p h y s i c a l d e s c r i p t i o n . He m e r e ly s k e t c h e s p h y s i c a l d e s c r i p t i o n a n d p h y s i c a l l o v e a s c o n c u r r e n t f a c t s ; t h e i r e x i s t e n c e , p o w e r, a n d p l a c e a r e j p r e s e n t e d t h r o u g h i m p l i c a t i o n . He i s c o n c e r n e d w i t h t h e | i m o t i v e s o f t h e c h a r a c t e r s a n d w i t h t h e i r r e a c t i o n s t o ; e v e n t s a n d a b s t r a c t i o n s a n d w i t h t h e r e s u l t a n t g r o w t h , d e - ■ . v e lo p m e n t, o r c h a n g e i n c h a r a c t e r o r u n d e r s t a n d i n g . H is A r t h u r i a n women, t h e n , a r e u n c o n c e r n e d w i t h l e g a l c o n v e n - j t i o n s o f m o r a l i t y . j I A n o th e r c h a r a c t e r i s t i c o f t h e e n e r g y o f t h e s e women i s I ' . i j t h e i r s t r e n g t h o f e x p r e s s i o n . R o b i n s o n 's women t e n d t o 1 j | ; s p e a k w i t h g r e a t e r c l a r i t y , h o n e s t y , s e n s i t i v i t y , a n d f o r c e ! t t h a n do h i s m en. Nor i s i t uncommon f o r t h e women t o s p e a k | ( b e t t e r p o e t r y . T h e men t e n d t o b e h e s i t a n t , a p o l o g e t i c , I t ■ [an d d e f e n s i v e ; t h e y a r e m ore g i v e n t o g e n e r a l i z i n g , t o d e - | i * | l a y i n g d e c i s i o n , t o v a c i l l a t i n g , a n d t o g i v i n g i n t h a n a r e j i t h e women. The f i r s t c o n f r o n t a t i o n o f man a n d woman i n i t h e t r i l o g y - ~ M e r l i n * s a r r i v a l i n B r o c e l i a n d e - - i n d i c a t e s i ] t h i s d i f f e r e n c e . M e r l i n m ouths a p o l i t e b u t t r i t e a n d j r o m a n t i c a l l y s t o c k p r a i s e o f V i v i a n ' s b e a u t y a s s h e a p p e a r s ; i b e f o r e him d r e s s e d a l l i n g r e e n : s h e i s so b e a u t i f u l , h e | f I s a y s , t h a t i f s h e w e re t o a s k him t o k i l l h i m s e l f , h e w o u ld , do j u s t t h a t . H er r e p l y i s s t r o n g , h o n e s t., s i n c e r e ; i t i s i 80 j f o r c e f u l a n d d i r e c t : I f yo u a r e M e r l i n — a n d I know you a r e , F o r I rem em ber yo u i n C a m e lo t— You know t h a t I am V i v i a n , a s I am; And i f I go i n g r e e n , w hy, l e t me go s o , And s a y a t o n c e why yo u h a v e come t o me C l o a k e d o v e r l i k e a monk, a n d w i t h a b e a r d As l o n g a s J e r e m i a h ' s . I d o n ’t l i k e i t . I ’ l l n e v e r l i k e a man w i t h h a i r l i k e t h a t , ( p . 264) T h i s d i f f e r e n c e i s s u s t a i n e d t h r o u g h m o st o f t h i s , a n d t h e f o l l o w i n g two A r t h u r i a n p o e m s. C i t i n g o t h e r i l l u s t r a t i o n s w o u ld b e i d l e b o t h b e c a u s e t h e c o n c e p t o f p o w e r o r s t r e n g t h ; o f e x p r e s s i o n — p a r t i c u l a r l y i n p o e t r y — i s d e p e n d e n t upo n o n e ’s p e r s o n a l s t a n d a r d s a n d t a s t e , a n d b e c a u s e q u o t a t i o n o u t o f c o n t e x t i n t h i s m a t t e r o f f e r s no r e a l e v i d e n c e . ! J * V i v i a n ’ s f o r t y - o n e l i n e s o f p h i l o s o p h y (p p , 2 8 0 -2 8 1 ) g i v e j ,a s t a t e m e n t a s p o w e r f u l a s a n y t h i n g t h a t M e r l i n s a y s i n I i t h e e n t i r e p o em , a n d i t i s s a i d w i t h c l a r i t y . I f t h i s i s | i * I (com pared w i t h M e r l i n ’s lo n g m e d i t a t i o n (p p . 2 9 4 — 2 9 7 ) , t h e I i i ( d i f f e r e n c e i s e v e n c l e a r e r , f o r t h i s i s a s e l a b o r a t e l y t I I .o b s c u r e a s a n y t h i n g i n R o b in s o n , | I n a d d i t i o n t o t h i s p o w er o f e x p r e s s i o n , woman h a s t h e p o w e r f o r a c t i o n . I n n e a r l y e v e r y c a s e , i t i s woman j [who a c t s , w h i l e man i s a c t e d u p o n . I t i s V i v i a n who a t - I j t r a c t s M e r l i n away f ro m C a m e lo t, who h o l d s him i n h i s ( l i v i n g g r a v e , a n d who s e n d s him o f f t o w a n d e r, m ak in g no ja tte m p t t o s t o p him a f t e r h e h a s a l l o w e d t h e i r l o v e t o e v a p o r a t e . I t i s G u i n e v e r e who p r e c i p i t a t e s t h e t r a g e d y . o f A r t h u r ’ s c o l l a p s e , who s e e s an e n d t o t h e w ar w i t h G a- w a in e a n d A r t h u r w h i l e L a n c e l o t w a i t s f o r s o m e th in g o u t s i d e h i m s e l f t o come a n d s o l v e h i s p r o b le m f o r h im , a n d who s e n d s L a n c e l o t on h i s p a t h t o t h e L i g h t w hen h e t r i e s t o t a k e up t h e o l d l o v e a f t e r A r t h u r i s o u t o f t h e w ay. I t i s I s o l t o f I r e l a n d who r e a s o n s t h r o u g h t h e l o v e r s ’ t r a g i c s i t u a t i o n a n d t a l k s t h e d e s p a i r i n g T r i s t r a m o u t o f s u i c i d e , who comes t o T r i s t r a m a t J o y o u s G a rd ( b r o u g h t by G u i n e v e r e , n o t L a n c e l o t ) , w h e re T r i s t r a m h a s p a s s i v e l y go n e t o mope r a t h e r t h a n t o go e i t h e r t o C o r n w a ll o r home t o B r i t t a n y , a n d who m akes t h e summer i d y l l i c a l l y h a p p y . I t i s Queen M organ who s h a k e s T r i s t r a m f ro m h i s d e s p a i r a n d s e n d s him ' t o C o r n w a ll (w h e re h e g a i n s e n t r a n c e n o t by h i s p h y s i c a l Ipow er b u t a s a r e s u l t o f I s o l t * s l o v e , w h ic h h a s d i s a r m e d t {Mark’ s h a t e ) . And T r i s t r a m i s k i l l e d n o t a s a r e s u l t o f (M a rk ’ s v e n g e a n c e b u t a s a r e s u l t o f M o rg a n ’ s v e n g e a n c e . ( {The men r e a c t t o l i f e ; t h e women a c t i n l i f e . The e v e n t s I !o f l i f e s h a p e t h e r e a c t i o n s o f t h e men; t h e women s h a p e t h e I | e v e n t s o f l i f e by t h e i r a c t i o n s . T he men w a i t f o r some t h i n g t o h a p p e n ; t h e women a c t i m m e d i a t e l y on w h at t h e y b e l i e v e , a n d d e f y e v e n t s a n d c i r c u m s t a n c e s by t h e i r a c t i o n . A s e c o n d d i v i s i o n o f P o w e r, a s a c h a r a c t e r i s t i c o f t h e " t o r c h o f w om an,” i s i n f l u e n c e - - t h e i n f l u e n c e t h a t woman’s e n e r g y ( h e r p a s s i o n a n d e m o tio n , h e r i m p u l s i v e n e s s , h e r s t r e n g t h o f e x p r e s s i o n , a n d h e r t e n d e n c y t o a c t i o n ) h a s on h e r e n v ir o n m e n t a n d on man. R o b i n s o n 's A r t h u r i a n women 1 i n d i c a t e t h i s i n f l u e n c e by some d e g r e e o f s e l f i s h n e s s , o r c a l c u l a t i o n , w h ic h may r e s u l t i n h e r s e d u c t i o n o f r e a s o n o r p r i n c i p l e o r d u t y , a n d by h e r c a p a c i t y t o b l i n d man t o r e a l i t y o r d e l a y h i s a c t i o n . I T h a t e a c h o f t h e women i n t h e A r t h u r i a n poem s i s t o j some d e g r e e c a l c u l a t i n g i s c l e a r , a n d t h e r e c a n b e l i t t l e d o u b t t h a t e a c h s e e k s p e r s o n a l h a p p i n e s s . Y et o n l y Queen M organ, i n h e r s u b t e r f u g e a n d h e r s e l f i s h s e d u c t i o n o f T r i s t r a m , i s b o t h c o l d l y c l a c u l a t i n g a n d s e l f - c e n t e r e d . V i v i a n , f o r e x a m p le , h a s w a i t e d t w e n t y y e a r s f o r t h e a r - ! ! r i v a l o f M e r l i n a n d h a s b e e n i n t e r e s t e d i n no o t h e r man i i d u r i n g a l l t h a t t i m e , a f a c t t h a t i n d i c a t e s a h i g h l y p r e - ; i m e d i t a t e d c o n c e r n ; b u t s h e s e t s no t r a p f o r M e r l i n , n o r i i i 'h a s s h e l u r e d him t o h e r c a s t l e t h r o u g h some c a l c u l a t e d ; 1 1 sc h e m e . A f t e r he i s t h e r e , s h e a t t e m p t s t o h o l d him w i t h h e r b e a u t y , h e r w a rm th , h e r l o v e , a n d h e r v i s i o n ; t h e r e I ! ; a r e no c o l d l y c a l c u l a t e d m e th o d s f o r h o l d i n g him t h e r e . j iWhen M e r l i n c h o o s e s t o l e a v e , s h e makes no move t o h o l d ! | i h im ; t h e r e i s no p l e a d i n g , no v a i n s e l f - p i t y , no c r y i n g , n o | I i i b i t t e r n e s s . H er d i s a p p o i n t m e n t i s i n t e n s e a n d s i n c e r e , j ! i b u t t h e r e i s no g n a s h i n g o f t e e t h o r w r i n g i n g o f h a n d s . j And h e r c o n c e r n h a s n e v e r b e e n f o r h e r s e l f a l o n e : t o V iv - jia n , M e r l i n ’s h a p p i n e s s i s a s i m p o r t a n t a s h e r s . T h e i r s ! i s a d u a l d e s t i n y : t o g e t h e r t h e y c o u l d d e f y T im e, b u t ■ .only together. i T h e same c a s e may b e made f o r e a c h o f t h e o t h e r women. 1 E ach i s c o n c e r n e d f o r n o t o n l y h e r own p e r s o n a l h a p p i n e s s J b u t f o r t h e w e l l - b e i n g a n d h a p p i n e s s o f h e r l o v e r . T he menj i s e e t h e m s e l v e s i n t h e c o n v e n t i o n a l im age o f w a r , f i g h t i n g ! i s h o u l d e r t o s h o u l d e r w i t h o t h e r k n i g h t s o r t r u t h a n d g o o d - 1 I n e s s a g a i n s t t h e e v i l s o f t h e i r t i m e ; t h e women s e e th e m - I t i s e l v e s a n d t h e i r men, t h e two t o g e t h e r , d e f y i n g Tim e a n d , F a t e . The women s e e t h a t r e s i s t a n c e a n d s t r u g g l e i n a n d ■ a g a i n s t Tim e a n d F a t e a r e n o t a n e x e r c i s e o f i n d i v i d u a l i h e r o i s m ; t h e y a r e an e x e r c i s e o f two human b e i n g s , o p e r a t - 1 i i n g t o g e t h e r on t h e b a s i s o f f a i t h a n d t r u s t a n d l o v e a n d m u tu a l e n d e a v o r . j i B ut t h e r e i s eno u g h s e l f - c o n c e r n , a t t i m e s , t o make j ! ! | t h e " t o r c h o f woman” b u r n so b r i g h t l y t h a t man i s a t l e a s t i ! t t e m p o r a r i l y b l i n d e d t o r e a l i t y a n d t o t h e a c t i o n s t h a t h e i f e e l s h e s h o u l d t a k e a n d t o p a t h s t h a t h e f e e l s h e s h o u l d ■ f o l l o w . L a n c e l o t , f o r e x a m p le , p o n d e r s : j \ ' When a r e t h e women who make t o y s o f men ■ To know t h a t t h e y t h e m s e l v e s a r e l e s s t h a n t o y s ; When T im e h a s l a i d upon t h e i r s k i n s t h e to u c h ; Of h i s a l l - s h r i v e l l i n g f i n g e r s ? When a r e t h e y j To know t h a t men m u st h a v e a n e n d o f them i j When men h a v e s e e n t h e L i g h t a n d l e f t t h e w o r l d j T h a t I am l e a v i n g now? Y et h e r e I am, j ! And a l l b e c a u s e t h e k i n g h a s g o n e a - h u n t i n g l : ( p . 384) ! t i More i m p o r t a n t , woman h a s t h e c a p a c i t y t o s e d u c e j r e a s o n , p r i n c i p l e , a n d d u t y . T he c o n f l i c t w i t h r e a s o n i s j c e n t r a l t o M e r l i n , I t i s p r e s e n t e d a s e a r l y a s t h e f i f t h j | i [p a g e : D a g o n e t, i n h i s t a l k w i t h G aw aine a b o u t t h e rum or 1 ' t h a t M e r l i n h a s r e t u r n e d , s a y s : And yo u m u st know t h a t L o v e , when Love i n v i t e s P h i l o s o p h y t o p l a y , p l a y s h i g h a n d w in s , Or low a n d l o s e s . ( p . 240) He a d d s : And when you s t a k e y o u r w isdom f o r a woman Com pute t h e woman t o b e w o r th a g r a v e , As M e r l i n d i d , a n d s a y no m ore a b o u t i t . B u t V i v i a n , s h e p l a y e d h i g h . Oh, v e r y h i g h I F l u t e s , h a u t b o y s , d ru m s, a n d v i o l s , - - a n d h e r l o v e . (p . 240) j By t h e t im e t h a t M e r l i n r e t u r n s t o C a m e lo t ( h a v i n g t o b e j summoned b y A r t h u r ) , h e i s a man o f l o s t a u t h o r i t y who no ! | l o n g e r s p e a k s t h e l a n g u a g e o f k i n g s . He c a n no l o n g e r t j o f f e r c o n v i n c i n g a d v i c e . He h a d n o t b e e n a v a i l a b l e i n | jC am elo t when A r t h u r h a d n e e d e d h im . S e v e r a l o f t h e k n i g h t s [p o n d er t h a t M e r l i n m ig h t h a v e b e e n a b l e t o c o n v i n c e A r t h u r i ! jto p a y a t t e n t i o n t o M odred h a d h e b e e n a t A r t h u r ’s c o u r t ; j d u r in g t h e t e n y e a r s o f h i s l i v i n g g r a v e ; b u t when M e r l i n j Sdoes r e t u r n , h e c a n do n o t h i n g . T h e tim e h a s a p p a r e n t l y ^ ! , j p a s s e d , j | G u i n e v e r e , t o o , d e l a y s h e r l o v e r . A lth o u g h L a n c e l o t j s e e s b o t h w o r l d s , G u i n e v e r e ’ s so b l i n d s h im , so a t t r a c t s j i ' h im , t h a t h e c a n n o t c h o o s e u n t i l G u in e v e r e k i n d l e s ’’t h e ! j t i m e - i n f u r i a t i n g f l a m e / Of a w r e c k e d e m p ire " ( p . 3 0 7 ) . t W h ile n e i t h e r o f t h e two I s o l t s w r e c k s e m p i r e s , b o t h d e l a y i .and, i n t h e e n d , d i s a l l o w T r i s t r a m ’ s a c c e p t a n c e o f t h e c o l d ! • 85 r e a l i t y o f t h e d a r k I s o l t ’ s m a r r i a g e t o M ark a n d o f h i s own m a r r i a g e t o t h e w h i t e I s o l t * M e r l i n r e t u r n s t o h i s w o r ld o f r e a s o n a n d d u t y , L a n c e l o t r e t u r n s t o t h e p a t h o f t h e L i g h t , a n d T r i s t r a m t o t h e w o r ld o f la w ; b u t a l l a r e d e l a y - e d — r e a s o n , p r i n c i p l e , a n d d u ty a r e c o m p ro m is e d . T h u s , i n a d d i t i o n t o b e a u t y a n d w a rm th , t h e " t o r c h o f woman" h a s p o w e r . The A r t h u r i a n women h a v e t h e c a p a c i t y f o r g r e a t p a s s i o n ; t h e y a r e a t t i m e s g i v e n t o e m o t i o n a l i s m a n d t o i m p u l s i v e a c t i o n , t r u s t i n g t h e i r own s e n s e o f r i g h t ■and w ro n g e v e n i n t h e f a c e o f g r e a t d a n g e r ; t h e y a r e i n - ; c l i n e d t o i n t e r p r e t m o r a l i t y i n te r m s o f m o t i v e s a n d , t h e r e f o r e , t o d e f y l e g a l c o n v e n t i o n s o f s i n a n d m o r a l i t y , ie v e n t o t h e p o i n t o f b e i n g a m o r a l; t h e y a r e p o s s e s s e d o f I g r e a t c l a r i t y a n d f o r c e i n e x p r e s s i o n , s t a t i n g t h e i r c a s e I ! w i t h h o n e s t y a n d c o n v i c t i o n ; a n d t h e y a r e c a p a b l e o f so | i n f l u e n c i n g man a s t o d e l a y him i n t h e p e r f o r m a n c e o f h i s I j d u t y a s h e s e e s i t o r t h e p u r s u i t o f p r i n c i p l e s o r r e a s o n la s h e p e r c e i v e s th e m . S u c h p o w er may c r e a t e d e s t r u c t i o n , j j t r a g e d y , a n d g r i e f ; b u t i t may c r e a t e p e a c e , e c s t a s y , a n d I joy* i CHAPTER VI THE TORCH OP WOMANt LIGHT A fla m e i s a s o u r c e o f b e a u t y * w a rm th , and p o w e r; b u t a t o r c h i s a s o u r c e o f i l l u m i n a t i o n and e n l i g h t e n m e n t , a means f o r d i r e c t i o n , I t i s a f l a m i n g l i g h t I I t i s p r o b a b l y t h i s c o n c e p t t h a t R o b in s o n h a d i n mind when he s a i d t h a t ’’t h e t o r c h o f woman , , . i s y e t t o l i g h t t h e w o r l d , ,T f o r t h e A r t h u r i a n women a r e more p e r c e p t i v e t h a n t h e men i n i ■ th e ir a w a r e n e s s o f and t h e i r u n d e r s t a n d i n g o f t h e i r c o n t e m p o r a r y s i t u a t i o n s , t h e w o r ld i n w h ic h t h e y l i v e , t h e ! d o m in a n t f o r c e s i n t h a t w o r l d , and t h e t o t a l i t y o f l i f e * , i ;With t h i s g r e a t e r a w a r e n e s s and u n d e r s t a n d i n g , t h e y p r o v i d e i l .'for t h e i r men t h e l i g h t o f p e r c e p t i o n and t h e l i g h t o f 1 I d i r e c t i o n . T h e y i l l u m i n a t e t h e d a r k n e s s s o t h a t men may jsee as f o r t h e f i r s t t i m e , and t h e y p r o v i d e a b e a c o n f i r e ! ! jfo r t h e l o s t an d w a n d e r in g men. ; R o b i n s o n ’s women s e e t h e i r c o n te m p o r a r y s i t u a t i o n s | ( Iw ith g r e a t e r c l a r i t y t h a n do h i s men. They h a v e , a s E l l s - i ! i jw orth B a r n a r d s a y s , ” a f i r m e r g r a s p o f t h e r e a l i t i e s o f J i 1 ' j d a y - t o - d a y e x i s t e n c e ” ^ t h a n do t h e men; t h e y a r e n o t , ; ' 1 ! ■ L E dw in A r l i n g t o n R o b in s o n : A C r i t i c a l S tu d y (New jY ork, 1 9 5 2 ) , p . 2 5 0 . ; 87 j s i jB a r n a r d g o e s o n , " s o e a s i l y d e c e i v e d by re m o te m ir a g e s ; i _ : j [[and] d o n o t s o e a g e r l y » , , em brace i l l u s i o n ” ( p , 2 5 0 )* j • V iv ia n , f o r e x a m p le , know s, lo n g b e f o r e M e r l i n , t h a t M e r lin ! i .c a n n o t l i v e i n tw o w o r l d s . She knows t h a t a f t e r he h a s , t i b r o k e n t h e s p e l l h e h a s g i v e n up p a r a d i s e and e n t e r e d T im e .j Now, i t i s o n ly a m a t t e r o f d a y s o r y e a r s (Tim e u n i t s ) !b e f o r e he w i l l l e a v e ; sh e t e l l s h im , I rm s u r e t h e t i m e h a s come f o r you t o w a n d e r; And t h e r e may come a tim e f o r you t o s a y What m o st you t h i n k i t i s t h a t we n e e d h e r e To make o f t h i s B r o c e l i a n d e a r e f u g e Where tw o d i s h e a r t e n e d s i n n e r s may f o r g e t A w o r ld t h a t h a s t o d a y no p l a c e f o r th e m . Now M e r l i n c o n s c i o u s l y knows w h a t b e f o r e h e h a d b u t d im ly j f e l t : he i s c h a n g in g and c a n n o t s t a y i n B r o c e l i a n d e , He j h a s d i v i d e d h i s l o y a l t i e s , l o n g i n g f o r C a m e lo t w h i l e l i v i n g i i jin B r o c e l i a n d e . M e r l i n h a s s h u t o u t t h e s u n ( V i v i a n ) j u s t j ( i ,as T r i s t r a m l e a v e s t h e ” s u n ~ f lo o d e d g a r d e n ” o f I s o l t o f j B r i t t a n y . B o th women w ou ld h a v e b e e n e a r t h and h e a v e n t o ; | t h e i r l o v e r s , b u t w e re n e i t h e r . E q u a l l y aw are i s G u i n e v e r e . W h ile L a n c e l o t i s a b l e t o i r a t i o n a l i z e t h a t t h e o n ly r e a s o n he d o e s n o t l e a v e im m edi- i 'a t e l y i n p u r s u i t o f t h e L i g h t i s t h e d a n g e r t h a t Modred jposes t o G u i n e v e r e , G u in e v e r e c u t s d i r e c t l y t o t h e h e a r t | Edw in A r l i n g t o n R o b i n s o n , C o l l e c t e d Poems (New Y o rk , i '1 9 3 7 ), p . 2 9 2 , A l l r e f e r e n c e s t o k o b 'i n s o n 1 s p o e t r y a r e ; ito t h i s t e x t * i 8 8 [ o f h i s c o n f l i c t : " I f t h e r e w e re o n ly M odred i n t h e way* !. , . w o u ld you come t o me t o n i g h t ? ” ( p . 3 8 2 ) , I t i s o n ly i a f t e r t h i s t h a t L a n c e l o t i s c o n s c i o u s l y aw are t h a t he can** f n o t s e e k t h e w o r ld o f L i g h t b e c a u s e he i s u n w i l l i n g t o g i v e u p G u i n e v e r e . T h e n , a f t e r s a v i n g h e r fro m t h e f i r e and s t a r t i n g t h e w a r , he h o p e s t o s o l v e t h e p ro b le m by s e n d i n g t h e Queen b a c k t o A r t h u r ; b u t G u in e v e r e s e e s w hat L a n c e l o t w i l l n o t s e e : t h i s a c t i o n w i l l n o t p r e v e n t w a r . T h e n , when L a n c e l o t w a n ts t o t a k e up t h e o l d lo v e a g a i n , G u in e v e r e h a s t o r e m in d him t h a t t h e y c a n n o t go b a c k and t h a t t h e w o r l d no l o n g e r h a s a p l a c e f o r t h e i r l i v e s t o g e t h e r . L a n c e l o t , t o o , h a s b e e n d i v i d i n g h i s l o y a l t i e s , t r y i n g t o l i v e i n tw o w o r ld s a t one t i m e , As V i v i a n and G u in e v e r e a r e more p e r c e p t i v e t h a n ; t h e i r men, e a c h o f t h e women i n T r i s t r a m i s more p e r c e p t i v e t h a n T r i s t r a m , t h a t r e d o u b t a b l e k n i g h t . W h ile T r i s t r a m i s jp lu n g e d i n t o d e s p a i r by I s o l t ’s m a r r i a g e t o Mark* I s o l t i lo o k s P a te i n t h e f a c e and s p e a k s w o rd s o f h o p e , T r i s t r a m [ c o n t e m p la te s f i r s t s u i c i d e a n d t h e n t h e d e a t h o f M ark a s i ith e o n l y w ays o u t o f t h e i r h o p e l e s s s i t u a t i o n . I t i s I s o l t who s e e s t h e i m m a t u r i t y an d r a s h n e s s o f e i t h e r s o l u t i o n and makes T r i s t r a m p r o m is e t o do n e i t h e r ; i t i s o n ly t h i s p r o m is e t h a t m akes p o s s i b l e t h e summer a t J o y o u s G ard tw o y e a r s l a t e r . ' Q ueen M organ q u i c k l y p e r c e i v e s T r i s t r a m ’ s r e a s o n f o r i n o t a t t e n d i n g t h e p o s t - w e d d i n g f e s t i v i t i e s and makes t h e j i s i t u a t i o n p l a y i n t o h e r h a n d s . M ark h a s t o come o u t , s e e ! i I ■ the l o v e r s e m b r a c e , and h e a r A n d r e d ’s b e t r a y a l b e f o r e h e u n d e r s t a n d s w h a t i s h a p p e n i n g . T h e n , a f t e r he i s b a n i s h e d , , I ; fro m C o r n w a l l , T r i s t r a m d e s p a i r s t o i l l n e s s . , l o s i n g c o n t r o l | ; I o f r e a l i t y an d d r i f t i n g i n t i m e , and aw akens i n M o rg a n ’s | i c a s t l e . When he f i n a l l y t e l l s M organ t h a t h e m ust l e a v e , sh e l o o k s a t him c o o l l y and a s k s , l e a v e f o r w h e re ? So u n c e r t a i n , s o u n a w a re o f h i s p o s i t i o n , i s T r i s t r a m t h a t he s t a y s a n o t h e r tw o w eeks i n t h e " s n a k e ’s n e s t ” ( a p p a r e n t l y ' I w i t h t h e s n a k e ) b e f o r e h e l e a v e s t o d r i f t t o B r i t t a n y , J I n B r i t t a n y , h e d r i f t s i n t o a m a r r i a g e w i t h t h e w h i t e j i i I s o l t , b u t he s e e s n e i t h e r t h e s u n - l i t g a r d e n s k e p r o v i d e s j ' .nor any way o u t o f t h a t g a r d e n . He i s m e r e ly p a s s i n g d a y s 5 : jhe i s k i l l i n g t i m e . A d r i f t i n t i m e , h i s o n l y p o i n t o f j ! ( I r e f e r e n c e i s t h e p a s t . "You h a v e l i v e d so lo n g i n t h e j p a s t , " I s o l t h a s t o t e l l h im , " t h a t you h av e l i v e d f o r 1 [ I n o t h i n g e l s e " ( p . 6 8 8) . So T r i s t r a m , l i k e M e r l i n and j L a n c e l o t , h a s b e e n d i v i d i n g h i s l o y a l t i e s , l i v i n g w i t h t h e j | I 1 w h i t e I s o l t i n B r i t t a n y b u t h e a r i n g t h e d a r k I s o l t ’s v o i c e | i j i n t h e s e a - s o u n d s . He h a s b e l i e v e d t h a t I s o l t o f B r i t t a n y I I n e e d s h im , s o he h a s — o u t o f p i t y f o r h e r — m a r r i e d h e r j 1 j I s o l t , h o w e v e r, i s more p e r c e p t i v e : s h e s e e s t h a t i t i s ! I ,T r i s t r a m who n e e d s h e r , ! j I n a d d i t i o n t o t h e i r u n d e r s t a n d i n g o f t h e i r p r e s e n t r e l a t i o n s h i p w i t h t h e e v e n t s o f l i f e , R o b i n s o n ’s women j h a v e a c l e a r e r p e r c e p t i o n o f t h e w o r ld a r o u n d th em t h a n do t h e men. M e r l i n , L a n c e l o t , and T r i s t r a m — as w e l l a s s u c h . l e s s e r f i g u r e s a s A r t h u r , H o w e l, and G aw a in e — a c c e p t l i f e i 1 j p r e t t y much a s t h e y f i n d i t , s e e k i n g no c l e a r e r u n d erstand**; | i n g t h a n any man h a s h a d b e f o r e th em and p r o f i t i n g l i t t l e ■ 1 fro m t h e sw eep o f h i s t o r y , T r i s t r a m i s c o m p la c e n t and b l i n d . M e r l i n , who h a s s e t up A r t h u r ’ s kin g d o m a s a m i r r o r i f o r m en, s e e s n o t h i n g b e y o n d t h a t k in gdom and i s i n c a p a b l e o f u n d e r s t a n d i n g V i v i a n ’s w o r l d . The r e s t s e e A r t h u r ’s ; .k in g d o m and s e e n o t h i n g e l s e . B e d i v e r e , f o r e x a m p l e , lo o k s! i on A r t h u r ’ s c r u m b li n g C a m e lo t b u t f e e l s t h a t men w i l l j u s t i f e s t a b l i s h a n o t h e r kingdom w i t h a n o t h e r k i n g , G a w a in e , a s j h e i s d y i n g , com m ents: 'T h e w o r ld h a s p a i d e n o u g h / F or ; !C a m e lo t. I t i s t h e w o r l d ’ s t u r n n o w - - / O r so i t w o u ld i f I i I t h e w o r ld w e re n o t / The w o r l d ” ( p . 4 3 3 ) , B u t b e i n g t h e ! !w o r l d , he s e e s t h a t i t ’’w i l l h a v e i n t u r n a n o t h e r m a d n e s s ; / I jAnd s o , a s I ’ve a g l i m p s e , ad i n f i n i t u m " ( p . 4 3 0 ) , Y e t , i i , V i v i a n h a d t o l d M e r l i n lo n g a g o : i i ! i | You made h im K in g B e c a u se you lo v e d t h e w o r ld and saw i n him j From i n f a n c y a m i r r o r f o r t h e m i l l i o n s . T he w o r ld w i l l s e e i t s e l f i n h im , an d t h e n j The w o r ld w i l l s a y i t s p r a y e r s and w ash i t s f a c e , j ' And b u i l d f o r some new k i n g a new f o u n d a t i o n . ! ; Long l i v e t h e k i n g ! ( p . 2 9 3 ) : i j E a c h o f t h e s e A r t h u r i a n women s e e s t h e w o r ld a s man’ s I ; p l a y g r o u n d , w h ere man p l a y s a t t h e game o f l i f e ; and he | p l a y s t h e game by h i s t o r i c a l l y e s t a b l i s h e d r u l e s * T radi*- 1t i o n - b o u n d , he c a n n o t e v e n c o n c e i v e a d i f f e r e n t s e t o f ' r u l e s . V i v i a n a s k s M e r l i n t o t e l l h e r o f t h e w o r l d and t h e 1 men i n i t « - ”w hat t h e y d o . . . and why t h e y do i t s o b a d l y ” ( p . 2 8 8 ) . ” G od, how you l o v e / T h i s gameI-*«*to make i s o lo u d a s h a m b le s o f i t ” ( p . 4 0 5 ) , p r o t e s t s G u in e v e r e * ”Y our way [ o f h a t e and v e n g e a n c e ] was t h e way o f k i n g s ” ( p . 7 0 8 ) , I s o l t o f I r e l a n d t e l l s Mark* T h e se women s e e m an’s game w i t h t h e w o r l d a s a k i n d o f R u s s i a n r o u l e t t e t h a t men k e e p p l a y i n g , l i t t l e r e a l i z i n g t h a t e v e r y o n e m ust l o s e i f t h e game i s c o n t i n u e d i n d e f i n i t e l y * ! B u t woman’s p e r c e p t i o n o f t h e w o r ld g o e s b e y o n d s im p l y a c l e a r v ie w o f t h e w o rld y s h e u n d e r s t a n d s t h e b a s i c 1 f o r c e s t h a t a c t upon t h e w o r l d . She s e e s t h a t t h e f u n d a - j i !m e n t a l f o r c e i s P a t e , an d F a t e i s s t r o n g e r t h a n r e a s o n (a , ; i j f a c t t h a t e v e n t h e w i z a r d M e r l i n d o e s n o t u n d e r s t a n d u n t i l j a f t e r he r e t u r n s t o V i v i a n fro m C a m e l o t ) | so man, w is e o n ly j ■ I ; i n t h e w o r l d ’ s w isdom , i s doomed t o f a i l u r e i f he s t a k e s I i , a l l i n r e a s o n , f o r r e a s o n a lo n e d o e s n o t s u f f i c e . N or d o e s i t h e a n sw e r l i e i n L a n c e l o t ’s L i g h t , f o r a s G u in e v e r e s e e s , j h i s L i g h t b u r n s i n d i f f e r e n t l y t h r o u g h w a rs and t h r o u g h j s u c c e e d i n g k in g d o m s. B e c a u s e F a t e i s s t r o n g e r t h a n r e a s o n , Time h a s o n l y f r e l a t i v e i m p o r t a n c e . W h ile L a n c e l o t , G a w a in e , A r t h u r , an d j ' J i M odred s t r u g g l e ( b e c a u s e o f p a s s i o n , h a t e , a m b i t i o n , and 92 I i p r i d e ) , t h e i r s t r u g g l e s a r e t e m p o r a l ; and l i k e M e r l i n , e a c h 1 l i f e e l s d e f e a t e d by C h a n g e . They w in one b a t t l e o n l y t o lo se j ! I i a n o t h e r , and t h e y s u r v i v e o r a v o id one c r i s i s o n ly t o be !f a c e d w i t h a n o t h e r ; t h e i r Change r e a l l y c h a n g e s n o t h i n g . j Y e t , i t i s a l l p a r t o f t h e gam e, and i t g o e s on ad i n f i n i - * | turn. T h u s , man o f t e n f e e l s , as d o e s T r i s t r a m : " L i v i n g i s m o s t l y f o r a tim e n o t d y i n g " ( p . 6 8 5 ) . "M ust you h av e [/the' w o r l d ] w i t h a l l i t s c l o t s and wounds and b r i s t l e s o n ? " ( p . 2 9 0 ) t o be h a p p y , a s k s V i v i a n . Woman s e e s t h a t tim e i s b u t a n em pty s h e l l , h o l d i n g d a y s . What c o u n t s m ost i n l i f e i s w h a t i t c o n t a i n s , n o t l e n g t h o f t i m e , t h e s p a n o f d a y s and y e a r s , "We a r e o u t o f T i m e / And o u t o f t u n e w i t h 1 T im e " ( p . 2 8 0 ) , V i v i a n t e l l s M e r l i n ; ’’How lo n g d o e s n ’t ' I m a t t e r ; w h at t h e r e was w as a l l " ( p . 7 1 7 ) , I s o l t t e l l s T r i s - i t r a m . I n s h o r t , woman s e e s t h a t t h e w o r ld i s a p l a c e "w h ere tim e i s a lw a y s d y i n g b u t n e v e r d e a d " ( p , 6 8 0 ) ; sh e b e c o m e s , t h e n , t h e l i g h t t o g i v e men t h e e y e s o f T im e . I t I i i s sh e who w i s h e s t o f i l l e a c h m in u te o f l i f e w i t h m e a n in g .j When sh e s u c c e e d s , a s d i d I s o l t o f I r e l a n d , s h e m akes l i f e j ! j jmore t h a n a m a t t e r o f p a s s i n g t i m e : T r i s t r a m f i n d s a t t J o y o u s G ard t h a t w h a t e v e r i t i s t h a t f i l l s h i s l i f e , " i t i i s n o t t i m e , / Y e a rs a r e n o t l i f e ” ( p . 6 9 3 ) , Woman, t h e n , j more t h a n man, i s c o n c e r n e d w i t h t h e i n t e n s i t y o f l i f e , ‘ < 1 ■not t h e l e n g t h o f l i f e : w om an's way i s " t o o much l i k e J ! ia lw a y s t o be t i m e " ( p . 7 1 7 ) . I B e c a u se woman h a s a c l e a r e r v ie w o f h e r s i t u a t i o n , o f I i ; t h e w o r l d , and o f t h e f o r c e s a t w o rk on t h e w o r l d , sh e h a s a c l e a r e r v ie w o f t h e t o t a l i t y o f l i f e . She i s n o t so , I e a s i l y d e f e a t e d by t h e t u r n i n g o f P a t e as i s T r i s t r a m , n o r j |s o f r u s t r a t e d and d i s i l l u s i o n e d by t h e f a i l u r e o f r e a s o n as; ;M e r l i n , n o t s o t o r n b e tw e e n tw o w o r l d s a s L a n c e l o t * ; i N e i t h e r i s sh e s o r u l e d by Time a s a r e t h e m en, f o r s h e 1 s e e s l i f e b o t h a s man s e e s i t and a s o n ly sh e s e e s it * - - a s a p a r t o f a l a r g e r u n i t . A f t e r e a r t h l y l i f e , t h e r e i s s t i l l : l i f e : ’’The w o r l d h a s n ’t b e g u n " ( p . 4 0 6 ) , G u in e v e r e t e l l s L a n c e l o t ; "A s h i p i n a p o r t s t i l l h a s a lo n g j o u r n e y " ( p . 7 1 0 ) , I s o l t o f I r e l a n d t e l l s T r i s t r a m ; and "Our l y r e s : ; a r e n o t s t r u n g f o r T o d a y ” ( p . 2 8 1 ) , V i v i a n t e l l s M e r l i n * O n ly T r i s t r a m l i s t e n s ; o n l y T r i s t r a m an d I s o l t f i n d p e a c e * 1 W ith t h i s v ie w o f l i f e , t h e w o r l d , t h e b a s i c f o r c e s , a n d t h e t o t a l i t y o f l i f e , woman o f f e r s man t h e l i g h t o f I d i r e c t i o n . I t i s t h r o u g h t h i s d i r e c t i o n t h a t " t h e t o r c h ! . !o f woman . . , W i l l some d ay s a v e t h e w o r l d . " Woman s e e s J |m an an d t h e w o r l d , t h e game he m akes o f l i f e , and h i s ; i ] j'’’k i n g ’ s w a y ," a n d sh e s e e s t h a t t o g e t h e r t h e y b r e e d a j b a s i c a l l y m a t e r i a l i s t i c p h i l o s o p h y t h a t l e a d s t o a m b i t i o n , j h a t e , l u s t , s e l f i s h n e s s , and s h o r t - s i g h t e d n e s s , t o a d e — j ! i I !p e n d e n c e upon i n t e l l i g e n c e a s a n i n s t r u m e n t t o c o n t r o l < i t e x p e r i e n c e , an d t o t h e u l t i m a t e b re a k d o w n i n human rela*~ , ’ t i o n s h i p s i n s u c h i n s t r u m e n t s a s w ar and kin g d o m s* T h i s I 94 'm a t e r i a l i s m i s * o f n e c e s s i t y , r u l e d by Tim e; i t i s m ou ld ed i iby h i s t o r y , by t r a d i t i o n , an d by c u s to m , b u t i t d o e s n o t !p r o f i t fro m i t s e x p e r i e n c e i n tim e * T h u s , on e w a r i s r e « p l a c e d i n t im e by a n o t h e r w a r , one kingdom i s r e p l a c e d i n tim e by a n o t h e r k in g d o m , a n d one a m b i t i o n , h a t e , l u s t , s e l f i s h n e s s , o r s h o r t - s i g h t e d n e s s i s r e p l a c e d i n t i m e by new a m b i t i o n , h a t e , l u s t , s e l f i s h n e s s , a n d s h o r t - s i g h t e d n e s s * S i n c e m a n ’s t r a d i t i o n - b o u n d , Tim e— bound game w i t h t h e w o r l d o n l y p e r p e t u a t e s i t s b l i n d n e s s and e v i l , R o b i n s o n ’ s women p r o p o s e f o r t h e e a r t h a new s e t o f g ro u n d r u l e s * T h e y d o t h i s , f i r s t , by s im p l y i g n o r i n g m an’s h i s t o r i c a l l y ; e s t a b l i s h e d r u l e s ; t h e y r e f u s e t o p l a y t h e game b y t h e i ; r u l e s , a f r u s t r a t i n g t h i n g f o r t r a d i t i o n - c o n s c i o u s man !w h e n e v e r i t h a p p e n s an d p a r t i c u l a r l y f r u s t r a t i n g when i t 1 i s woman who r e f u s e s , f o r man c a n n o t f i g h t b a c k w i t h h i s h i s t o r i c a l l y e s t a b l i s h e d w e a p o n s , T h i s a c t o f woman j a c c o m p l i s h e s tw o t h i n g s : F i r s t , i t d e s t r o y s m an ’s k i n g — {doms ( t h e t i m e - i n f u r i a t i n g fla m e o f a w re c k e d e m p i r e ) ; and s e c o n d , i t i n d i v i d u a l i z e s m an ’s f a t e . Man c a n no l o n g e r I | d r i f t i n tim e ( i n h i s t o r y and t r a d i t i o n ) as T r i s t r a m and j L a n c e l o t h a v e d r i f t e d ; man i s c a u g h t up i n a new s e r i e s o f i :e v e n t s t o w h ic h he i s c o m p e lle d t o a p p l y h i s own a c t i o n s , j L a n c e l o t , f o r e x a m p le , i s a d r i f t b e tw e e n h i s two w o r l d s , I ! I u n a b l e t o l i v e i n e i t h e r b u t u n a b l e t o l e a v e e i t h e r ; t h e n , 95 ! I ! G u in e v e r e d raw s him i n t o l i f e by m aking t h e d e c i s i o n f o r 'h im w i t h h e r i n v i t a t i o n t o come t o h e r c h a m b e r s . T h is s e t s ' i ' i n m o tio n a s e r i e s o f e v e n t s t o w h ic h L a n c e l o t m ust re a c t* , iHe i s d raw n i n t o a c t i v e p a r t i c i p a t i o n i n l i f e : He m ust I i s a v e t h e q u e e n fro m b u r n i n g , a n a c t w h ic h r e s u l t s i n h i s ] i i k i l l i n g G a r e t h and G a h e r i s , w h ic h k i l l i n g s a r e t h e r e s u l t . i ' I ; o f f a t e , n o t r e a s o n o r a m b i t i o n ; t h e s e f a t e d k i l l i n g s e n - ' | ! f la m e G awaine t o make w ar w i t h L a n c e l o t , a w ar t h a t n e i t h e r j A r t h u r n o r L a n c e l o t w a n t s ; t h e w ar w i t h L a n c e l o t r e s u l t s j i n A r t h u r ’s l e a v i n g t h e k in g d o m u n p r o t e c t e d ; e t c e t e r a » T h e n , a f t e r b r e a k i n g t h e r u l e s t h a t man h a s l i v e d by ! i and s e t t i n g f i r e t o m a n ’s w o r l d , woman d e f e a t s Tim e— m an’s i y a r d s t i c k - - b y m aking Time i t s e l f i n s i g n i f i c a n t . She e s t a b - ! ! l i s h e s i n i t s p l a c e a new u n i t o f m e a s u r e m e n t- - L o v e - - w h ic h ; f u r t h e r im p e ls f a t e o r d e s t i n y to w a rd a n i n d i v i d u a l f o rm . 1 The new m e a s u re e v a l u a t e s a new g o a l : f u l f i l l m e n t o r t h e d i s c o v e r y o f S e l f , u n b o u n d ed by T im e. Woman s e e s t h a t , | s i n c e P a t e i s s t r o n g e r t h a n T im e, e f f o r t s i n t i m e may be J c a n c e l l e d by F a t e ; r e a s o n , a m b i t i o n , h a t e , k i n g s , k in g d o m s, 1 1 |a.nd pow er a r e T im e -b o u n d a n d , a s s u c h , a r e t r a n s i e n t . Man’s w isd o m , t h e n , i s w is e o n l y i n t h e w o r l d ’s l o r e ; m an’ s I * a m b i t i o n , h i s k i n g s , and h i s kingdom s may be d e s t r o y e d i n j I ■Time by t h e t u r n i n g o f P a t e . I t i s n o t i n T im e , t h e n , t h a t ! |man may d i s c o v e r h i s r e a l S e l f , Woman t e a c h e s man t h a t i t j i s o n l y when he c a n th r o w o f f t h e s h a c k l e s o f Time t h a t h e I may s e e t h a t l i f e h a s m e a n in g . T r i s t r a m f i n a l l y s e e s a t j :J o y o u s G ard w h a t he h a d n o t s e e n b e f o r e : I ! . . . I f o n l y I h a d b e e n awake I n p a r a d i s e , i n s t e a d o f s l e e p i n g t h e r e , No j e a l o u s a n g e l w i t h a b u r n i n g sw ord j W ould h av e h a d pow er eno u g h t o d r i v e me o u t , j ' Though G o d 'h i m s e l f h a d s e n t h im , ( p . 6 2 2 ) [ ! I i T h i s i s a r a t h e r p r e c i s e s t a t e m e n t by R o b in s o n h i m s e l f o f I t h e r e a s o n t h a t T r i s t r a m a c h i e v e s p e a c e w h ere M e r l i n h a d f a i l e d , f o r t h i s j e a l o u s a n g e l i s p r e c i s e l y t h e same a n g e l . t h a t d i d d r i v e M e r l i n o u t o f p a r a d i s e : ! F o r now t o M e r l i n , i n h i s p a r a d i s e , Had come an u n s e e n a n g e l w i t h a s w o r d , . » , i He f e l t t h e sw o rd o f h i s c o l d a n g e l t h r u s t And t w i s t e d i n h i s h e a r t , , , and l e f t h im i d e s o l a t e , ! W ith m i s t y bro w a n d e y e s . ( p , 29 4 ) I t i s t h e l i g h t a f t e r t h e d a r k n e s s t h a t c o u n t s , t h a t makes - I j l i f e c o u n t f o r a n y t h i n g . M e r l i n f a i l s : j I s e e t h e l i g h t I B ut I s h a l l f a l l b e f o r e I come t o i t : j 1 F o r I am o l d . I was y o u n g y e s t e r d a y , ; T im e* s h an d t h a t I h a v e h e l d away so lo n g j j G r i p s h a r d now on my s h o u l d e r . Time h a s w o n , ( p , 2 9 5 ) T r i s t r a m , on t h e o t h e r h a n d , s u c c e e d s : 1 We h a v e l i v e d an d we h a v e d i e d , an d a r e a lo n e i Where t h e w o r ld h a s no m ore a p l a c e f o r u s , O r tim e a f e a r f o r u s , o r d e a t h , ( p , 690) I T r i s t r a m an d I s o l t a c h i e v e s o m e th in g t h a t n e i t h e r Mer l i n and V i v i a n n o r L a n c e l o t an d G u in e v e r e a c h i e v e s . What t h e y j I | a c h i e v e i s d e s c r i b e d by I s o l t , a s s h e i s t a l k i n g t o M ark I ! : j u s t b e f o r e t h e l o v e r s a r e r e u n i t e d a t C o r n w a ll an d j u s t ! b e f o r e t h e i r d e a t h s : ■ : ^ I i ”The s e a was n e v e r s o s t i l l a s t h i s b e f o r e , ” j She s a i d . ,TI t i s l i k e s o m e th in g a f t e r l i f e , j And i t i s n o t l i k e d e a t h . T h a t s h i p o u t t h e r e ' ; I s l i k e tw o s h i p s , a n d one o f th e m a sh ad o w , j i When y o u cam e, I w as a s k i n g i f t h e shadow M ig h t n o t , i f o n ly we knew shadow s b e t t e r , ; Be t h e r e a l s h i p . ” ( p . 707) ,T h u s , t h r o u g h s e l f l e s s l o v e , g i v e n now, m e a n in g i s g i v e n to! * i l i f e , s e l f i s d i s c o v e r e d . W h ile f a t e c o n t r o l s l i f e and b r i n g s u l t i m a t e d a r k n e s s , t h a t d a r k n e s s i s f a c e d w i t h n o ; r e g r e t s * f o r i t i s a l i f e o t h e r t h a n t h i s l i f e t h a t c o u n t s , ! Woman, ” t h e t o r c h o f w om an,” l i g h t s t h e w ay, g i v e s t h e I d i r e c t i o n , t o i m m o r t a l i t y . CHAPTER V II ; I t C O N C L U S I O N i i The p u r p o s e o f t h i s p a p e r i s t o d i s c o v e r ’’t h e t o r c h ofj i w om an,” t o d e l i n e a t e i t s c h a r a c t e r i s t i c s and t o d e f i n e i t s j c a p a c i t y t o ’’l i g h t t h e w o r l d ” and ’’s a v e u s a l l , " t h r o u g h a s t u d y o f t h e f e m i n i n e c h a r a c t e r s i n E dw in A r l i n g t o n Robin** ! s o n ’s t h r e e A r t h u r i a n poem s, M e r l i n , L a n c e l o t , and T r i s * * t r a m . B e c a u se M r. R o b in s o n h a s s t a t e d t h a t woman’s t o r c h " i s t o be t a k e n l i t e r a l l y , " t h i s s t u d y h a s h a d t o be d u a l ! i n n a t u r e f f i r s t , i t h a s b e e n n e c e s s a r y t o d e s c r i b e e a c h ; o f t h e f e m i n i n e c h a ra c te rs * * * -V iv ia n , G u i n e v e r e , I s o l t o f ! | B r i t t a n y , Q ueen M organ, and I s o l t o f I r e l a n d ; s e c o n d , i t i h a s b e e n n e c e s s a r y t o d e t e r m i n e t o w h at d e g r e e e a c h o f t h e s e women p o s s e s s e s t h e c h a r a c t e r i s t i c s o f a fla m e o r t o r c h — b e a u t y and w a rm th , p o w e r, a n d l i g h t . I t h a s f u r t h e r ' b e e n d e t e r m i n e d d e s i r a b l e t o h a n d l e t h e s e tw o p ro b le m s s i m u l t a n e o u s l y . Such h a n d l i n g h a s l e a d t o some o v e r l a p p i n g and t o much: f r a g m e n t a t i o n . T h u s , t h i s c o n c l u s i o n m u st t a k e t h i s fo rm t j F i r s t , a u n i f i e d d e s c r i p t i o n o f e a c h o f t h e women w i l l be g i v e n ; s e c o n d , a c o m p o s i t e o f t h e R o b i n s o n i a n woman w i l l be l c o n s t r u c t e d fro m t h e s e v a r i o u s c h a r a c t e r i s t i c s ; and t h i r d , I i i a p r o j e c t i o n o f t h i s c o m p o s i t e woman t o t h e " t o r c h o f j I woman” w i l l be p r o p o s e d . The f i r s t o f t h e A r t h u r i a n women i s V i v i a n , who i s a lm o s t w h o l l y a c r e a t u r e o f R o b i n s o n 's i m a g i n a t i o n . She i s . ! i n many w a y s , t h e m ost s a t i s f y i n g o f t h e f o u r m a in women i n | i t h e A r t h u r i a n poem s, a n d t h i s may b e p r e c i s e l y b e c a u s e J I I :R o b in s o n was n o t h e l d t o a n y p r e - e s t a b l i s h e d c h a r a c t e r by | * ! h i s s o u r c e s . We s e e V i v i a n a s t h e warm and b r e a t h i n g em- ; b o d im e n t o f a l l t h e b e a u t y i n t h e w o r ld t h a t o u r s e n s e s c a n b r i n g u s , a woman o f i n f i n i t e c h a rm , d e m u re , r e s e r v e d , : m o d e s t— t h e v e r y im age o f g r a c e and ch a rm . H er mood i s < t h a t o f p l a y f u l s w e e t n e s s ; h e r k e e n w i t , h e r p l a y f u l t a u n t s , and h e r c l e v e r s p e e c h g i v e h e r t h e c h a r a c t e r i s t i c j o f i n t e l l e c t u a l s p r i g h t l i n e s s , b u t n o t i n t e l l e c t u a l i s m , tS he t a k e s im p is h p l e a s u r e i n s u b d u in g t h e unk em p t s a g e , ; f l a t t e r i n g h im o u t r a g e o u s l y . E v e n when s h e s e e s M e r l i n ' s , lo v e c o o l i n g , sh e t a k e s t h i s i n t h e to n e o f m ild b a n t e r , s h a r p e n e d , p e r h a p s , t o i r o n y b u t c a s e d w i t h t e n d e r n e s s . Y e t , w i t h h e r b a s i c p l a y f u l n e s s , h e r p a s s i o n may fla m e fro m t h e d e p t h s o f s u b c o n s c i o u s n e s s t o make h e r a f la m e — i p e r f e c t s e x p a r t n e r i n p h y s i c a l l o v e . N or i s s h e ab o v e j e a l o u s y ( o f A r t h u r ’s w o r l d t h a t c a l l s M e r l i n aw ay) o r i | i ! f e a r ( o f M e r l i n ’s l e a v i n g ) ; and s h e t r i e s , w i t h h a lf * ’ I c o n s c i o u s a r t f u l n e s s , t o k e e p h e r g o l d e n s h e l l o f e x i l e j f r e e fro m t h e r e s p o n s i b i l i t i e s o f an e x i s t e n c e s h a r e d w i t h 1 ; i o t h e r human b e i n g s . She i s a know ing woman, w hose d e s - 1 i ' t i n y — w i t h i n l i m i t s — i s s e l f - d e s i g n e d ; y e t s h e i s to o i n t e l l i g e n t n o t t o s e e M e r l i n ’ s lo v e c o o l i n g a n d t o o w is e j i n h e r t h o u g h t f u l p l a y f u l n e s s n o t t o p r e p a r e h e r s e l f . She i s c l e v e r en o u g h t o r e c o g n i z e w hen s h e c a n n o t b e a t t h e j f o r c e s o p p o s e d a g a i n s t h e r . She l a m e n t s , b u t c a n n o t u n d e r — j | i s t a n d , M e r l i n ’s s e n s e o f d u t y t o A r t h u r ; sh e i s a c r e a t u r e i ab o v e e a r t h l y p r o b le m s , a f i g u r e o f l o v e s o c o m p l e t e l y r e — . moved fro m d u t y t o M e r l i n ’s w o r ld t h a t s h e c a n n o t u n d e r - \ s t a n d why t h e s t o r y o f a l i v i n g k i n g i s a S t o r y f o r a l l j men, a l l women. Nor d o e s i t h e l p f o r h e r t o know t h a t sh e i and M e r l i n a r e e a c h o t h e r ’s p u n i s h m e n t , he f o r h a v i n g w i s - j ' dom and s h e f o r h a v i n g s i g h t f o r d i s t a n t t h i n g s . I f s h e | i i s s i r e n t o M e r l i n , s h e i s h e r s e l f c a p t i v e o f a f r u s t r a t i n g ' t f a t e . H er t r a g e d y i s t h a t o f a woman b a l k e d i n h e r em o- I t i o n a l p o t e n t i a l i t i e s , g r o p in g t h r o u g h lo v e to w a r d a more | ;f i r m l y i n t e g r a t e d l i f e . T h e re i s i n V i v i a n a d a w n in g o f i i * . * s e l f - c o n s c i o u s n e s s , a c u r i o u s and i m p r e s s i v e s e a r c h f o r f u l f i l l m e n t and e v a l u a t i o n w h ic h c h a r a c t e r i z e d t h e f e m in i n e ;s p i r i t c o n te m p o r a r y w i t h R o b in s o n a n d , i n d e e d , w i t h us# j V i v i a n i s c a p a b l e o f g r e a t d e v o t i o n b u t i s a l s o c a p a b l e o f g r e a t s t r e n g t h . She d o e s n o t c r y o u t i n d e s p a i r J i : e v e n when t h e o n l y s i g n i f i c a n t man i n h e r l i f e l e a v e s h e r . j i H er com m itm ent t o l o n e l i n e s s w i l l be a k i n d o f l i v i n g j ! i d e a t h . W ith o u t h e r l o v e , M e r l i n ’ s widom w i l l be incom p l e t e ; b u t w i t h o u t M e r l i n , h e r l i f e s h a l l be l e s s t h a n h a l f | !a l i f e . T o g e t h e r t h e y c o u l d h a v e d e f i e d T im e, as s h e h a d ! ; 101 I 1 | ; t o l d h im , in. a w o r ld " t h a t h ad no p l a c e f o r them?” b u t 'M e r l i n h ad r e a l i z e d t h i s t o o l a t e * S h e , l i k e M e r l i n , r e - ! e n t e r s T im e . The l o v e so n g e n d s ? t h e v i c t o r y g o e s t o 1 i F a t e — t o F a t e and Tim e a n d C h a n g e . j ■ W h ile p a s s i o n i s a c h a r a c t e r i s t i c o f V i v i a n , p a s s i o n j i s t h e c h a r a c t e r i s t i c o f G u i n e v e r e , She seem s t o h a v e been; I ! ;b o r n w i t h u n fa th o m e d d e p t h s o f p a s s i o n ; n o r i s t h i s c h a r a c - j i t e r i z a t i o n R o b i n s o n ’s a l o n e , f o r w h i l e t h e w o rd s t h a t he i p u t s i n t o h e r m outh a r e h i s , t h e p a s s i o n and t h e involve*-, meht i n t h e e v e n t s t h a t l e a d t o t h e f a l l o f C a m e lo t a r e l ' p r e s e n t i n M a lo ry , R o b i n s o n ’ s b e l i e f t h a t " s h e m u st h av e I h a d a way w i t h h e r o r t h e r e w o u l d n ’t h a v e b e e n s u c h an | ' i e v e r l a s t i n g f u s s made o v e r h e r ” l e d h im t o c h a r a c t e r i z e h e r a s h a v i n g g r e a t p h y s i c a l d e s i r a b i l i t y and i n t e n s e ' 1 i p a s s i o n . She i s n o t , h o w e v e r , t h e a d u l t e r o u s w i f e o f | i T e n n y s o n , d i s r e g a r d i n g h e r q u e e n l y d u t y o f f i d e l i t y , n o r t h e a d m ire d h e r o i n e o f M a lo r y , s e e k i n g lo v e o u t s i d e m ar r i a g e a s an e s t a b l i s h e d c o n v e n t i o n ? s h e i s , r a t h e r , a ; 'p e r s o n c o n f u s e d and c a u g h t , l i k e h e r h u s b a n d an d h e r l o v e r , i | i ; i n a web o f c o n f l i c t i n g d e s i r e s and l o y a l t i e s * She i s ! i q u e e n o f b e a u t y and s e d u c t i o n , a k i n d o f g r a n d e a m o u r e u s e , j ja p a s s i o n a t e l o v e r who s t a k e s h e r w h o le b e i n g on t h e d i s - ! i ' ( t r a c t i n g a d v e n t u r e o f h e r l i a i s o n an d w i l l l i v e f o r o r d i e < I ; : o f i t . ; i t A r t h u r i s s o t a k e n w i t h h e r b e a u t y and d e s i r a b i l i t y ; 1 0 2 , t h a t he makes h e r h i s q u e e n e v e n th o u g h he h a s h e a r d t h a t t h i s i s a lo v e t h a t i s n e v e r t o b e and t h a t sh e h a s a l r e a d y ’’c a s t s p a r k s ” on L a n c e l o t . G awaine and L a m o rak a t t e s t t o h e r g r e a t b e a u t y and d e s i r a b i l i t y and t e n d t o f o r g i v e Lan»* c e l o t , r e a l i z i n g t h a t t h i s i s q u i t e a b i t o f woman t o t u r n : down; M odred s t a t e s b e s t m an ’s r e a c t i o n t o G u i n e v e r e : : "G od, w h at a wom anI" T h u s , t h e ’’t o r c h o f woman*” s h i n i n g c l e a r l y i n V i v i a n l t o no p u r p o s e b u t M e r l i n ’s p a s s i n g p l e a s u r e and l a s t i n g .wisdom* s h i n e s l u r i d l y i n G u in e v e r e t o k i n d l e " t h e tim e-. ! i , i n f u r i a t i n g f l a m e / O f a w re c k e d e m p i r e . ” B ut h e r tr iu m p h j i i i s s h o r t - l i v e d . L a n c e l o t — and G u in e v e r e w i t h him — h a s b e e n w re n c h e d b a c k i n t o tim e by r e s c u i n g h e r fro m t h e f i r e . i " I t i s i m p o s s i b l e t o s a y , " com m ents L u c i u s B e e b e , "w h ich s p e c t a c l e i s s a d d e r : t h e o v e r t h r o w o f C a m e lo t a n d t h e o r d e r e d e m p ire o f A r t h u r ’s c o n t r i v i n g , o r t h e c o o l i n g o f 1 t h e f l a m e - l i k e p a s s i o n o f G u i n e v e r e , ” f o r t h i s i s a p a s s i o n t h a t c o u l d h a v e b e e n a s t a n d a r d o f a l l t h e w o r l d ’s g r e a t l o v e s . Y e t, s h e t o o i s a woman o f v i s i o n ; s h e s e n d s ' L a n c e l o t on h i s way t o t h e L i g h t when s h e s e e s t h e w o r ld ino l o n g e r h a s any p l a c e f o r th e m . C o n t r a s t i n g s h a r p l y w i t h t h i s p a s s i o n a t e , s e n s u a l , " w h ite w i t c h - w o n d e r o f w h i t e f i r e " t h a t i s G u in e v e r e i s ^A s p e c t s o f t h e P o e t r y o f E dw in A r l i n g t o n R o b in s o n ( C am bridge', M ass. , 1 9 2 8 ) , p .' ’$ 6 ' . ' ' " i 103 1 I , t h e " f l a m e - w h i t e l o v e l i n e s s " t h a t i s I s o l t o f B r i t t a n y , a I ; ■ ; I f i g u r e n o t v i o l e n t b u t d o c i l e , n o t t r a g i c b u t p a t h e t i c , n o t ; d em a n d in g c o m p l e t e n e s s b u t a c c e p t i n g co m p ro m ise - She i s s R o b i n s o n ’ s m ost p e r f e c t r e p r e s e n t a t i o n o f t h e " i n n o c e n t " | t | woman, and sh e i s p e r h a p s t h e l o v e l i e s t and m o st m oving o f , h i s women. She r e p r e s e n t s a k i n d o f s o f t l o v e l i n e s s i • . i ! h a l f - c h i l d , h a lf -w o m a n , w i d e - e y e d , a n d g o l d e n - h a i r e d , s h e \ i I 'h a s a c h i l d ’s c a n d o r , s i m p l i c i t y , a n d a r t l e s s n e s s b u t a | ; i woman’s p a t i e n c e , m i l d n e s s , an d s o l e m n i t y . S he gro w s fro m 1 a c h i l d w hose d re a m s h a v e a n u n c h i l d l i k e s o l e m n i t y t o a | woman w hose v i s i o n o f r e a l i t y h a s t h e t r a g i c s i m p l i c i t y o f ! i t c h i l d h o o d ; and a lw a y s t h e r e i s t e n d e r n e s s and a k i n d o f j i m y s t i c a l w isdom . H er " f l a m e — w h i t e l o v e l i n e s s " i s a sym bol o f h e r p u r i t y , h e r f i d e l i t y , h e r c h a r a c t e r , a n d h e r i n t e g r i t y ; h e r lo v e i s s e l f l e s s , p u r e . She knows t h a t T r i s t r a m ’s t h o u g h t s a r e i n C o r n w a ll b u t h o l d s him w i t h h e r d e l i c a t e and l o v e l y s t r e n g t h f o r a s lo n g a s F a te a l l o w s . Com pared w i t h t h e f i e r y G u in e v e r e o r t h e k n o w in g V i v i a n , I s o l t seem s a l m o s t , 1 „ :i n s u b s t a n t i a l , l i v i n g i n a dream w o r l d d o m in a te d by t h e | f i g u r e o f T r i s t r a m i y e t , w h i l e s h e b e l i e v e s , she i s n o t i i I | 'd e c e i v e d . She i s n o t s o b l i n d i n h e r in n o c e n c e t h a t sh e d o e s n o t s e e " t h e a lm o s t v i s i b l e doom" a t t e n d i n g T r i s t r a m ; ^and t h a t F a t e i s s t r o n g e r t h a n h e r w i l l . Nor i s sh e b l i n d 1 | t o t h e t e r r i b l e b u r d e n t h a t T r i s t r a m b r i n g s w i t h h im t o , 1 0 4 I ' B r i t t a n y — T im e. H er i n n o c e n c e i s p r o g r e s s i v e l y s c h o o l e d t 1 t o w isdom by e x p e r i e n c e , an d s h e s h a r e s t h e t r a g e d y and t h e i ' wisdom o f T r i s t r a m an d t h e d a r k I s o l t : nI w o u ld h a v e b e e n ' : 1 t h e w o r l d / And h e a v e n t o T r i s t r a m a n d was n o t h i n g t o h im 1' | ; (p . 7 2 7 ) . S h e , l i k e G u in e v e r e and V i v i a n , h a d i m m o r t a l i t y ! i ; ' t o o f f e r b u t T r i s t r a m h a d n o t come b a c k : ” I t was l i k e ! : ! : t h a t / F o r women, s o m e tim e s , an d m ig h t b e so t o o o f t e n / F o r ! ! i I women l i k e h e r ” ( p p . 7 2 8 - 7 2 9 ) , j < More u n f u l f i l l e d t h a n e v e n t h e p a t h e t i c I s o l t o f I B r i t t a n y i s Q ueen M o rg an . F e l i n e , s e d u c t i v e , p r o f e s s i o n a l * .! : l y l o v e l y , M organ seem s t o be t h e woman I s o l t o f I r e l a n d ! 1 \ s p e a k s o f t o T r i s t r a m ( e v e n more t h a n I s o l t h e r s e l f ) : i T h e r e m ust be women who a r e made f o r l o v e , ' And o f i t , a n d a r e m o s tly p r i d e and f i r e : W ith o u t i t . T h e re w ou ld n o t be much l e f t ; O f th em w i t h o u t i t t h a n s o l d a n i m a l s T h a t m ig h t a s w e l l be d r i v e n and e a t i n g g r a s s As w e a v in g , r i d i n g , h u n t i n g , and b e i n g q u e e n s , Or n o t b e i n g q u e e n s . ( p . 625) She o f f e r s h e r s e l f t o T ris tra m -* * .in d e e d , f o r c e s h e r s e l f upon h i m - - b u t when he i s unm oved, w i t h ’’The venom i n h e r p a s s i o n and p r i d e , / She l e t him g o . ” B ut sh e knows t h a t F a t e i s j I , t h e r u l i n g f o r c e o f l i f e * She becom es a n i n s t r u m e n t o f F a t e | ” f a i r and f e l i n e , ” ” a p i e c e o f m o o n l i t l i v i n g m a r- b l e , ” s h e r e m a in s a ’’p r e m e d i t a t e d d a n g e r ” t o man. ( The l a s t o f t h e women p r e s e n t e d b y R o b in s o n i s I s o l t j : o f I r e l a n d — I s o l t t h e p h y s i c i a n , I s o l t o f s i l e n c e and I r i s h : p r i d e , I s o l t o f t h e s o f t w a v in g b l u e - b l a c k h a i r and v i o l e t i i i 105 j e y e s , I s o l t t h e d a r k and l o v e - r e d r o s e . She i s a b l e n d o f i | a l l t h e o t h e r women: s h e h a s t h e p a s s i o n a t e f e r v o r , burn*- ^ I i in g l i k e a s t e a d y f l a m e , an d t h e i n n e r vehem ence o f G u i n e v e re ? t h e s e n s i b i l i t y an d i m a g i n a t i o n , " t h e s i g h t f o r j I d i s t a n t t h i n g s , " o f V i v i a n (w h ich s u g g e s t s a c h a r a c t e r : I t h a t r e c o n c i l e s p a s s i o n a t e p h y s i c a l e x p e r i e n c e w i t h w i s - i i idom—«a p a s s i o n a t e l o v e r c a p a b l e o f s p i r i t u a l g ro w th and ( t \ jw isd o m ); t h e d a r k , f e l i n e b e a u t y , t h e d e t e r m i n a t i o n t o a c t i o n , and t h e k n o w led g e o f F a te o f Q ueen M organ? and t h e ■ s i m p l i c i t y , a r t l e s s n e s s , t e n d e r n e s s , and s o l e m n i t y o f I s o l t i I o f B r i t t a n y * Y e t , m ore t h a n a m ere b l e n d , I s o l t 1s c h a r a c t e r — h e r 1 i * I p a s s i o n , h e r c o m p r e h e n s io n , h e r t e n d e r n e s s , h e r g r e a t ! b e a u t y — i s a f u s i o n i n t o t h e f i r e o f l o v e . W h ile t h e r e i s ■ f n o d o u b t w h a t s o e v e r t h a t e a c h o f t h e s e women i s c a p a b l e o f ' g r e a t lo v e f o r h e r man, I s o l t 1s lo v e h a s a d e p t h , a n i n t e n - . s i t y , a l u m i n o s i t y , a lm o s t b e y o n d c o m p r e h e n s io n . Love w i t h | I s o l t i s e s s e n t i a l l y a p o e t i c a l a n d i d e a l q u a l i t y ? i t i s j a u n i o n o f s u p e r t e r r e s t r i a l a s p i r a t i o n , t e n d e r n e s s b e y o n d | 'o r d i n a r y human n a t u r e , and i d e a l i s m a k i n t o t h e d i v i n e , a i I I (u n io n t h a t : r a i s e s I s o l t ’ s lo v e t o a n e x a l t e d p i t c h . So | I | b r i g h t l y d o e s " t h e t o r c h o f woman" b u r n i n I s o l t t h a t i t j may n o t be t h r u s t a s id e * N e i t h e r V i v i a n n o r G u in e v e r e n o r j M o rg an n o r I s o l t o f B r i t t a n y c o u ld b e t h e e a r t h and h e a v e n i i i 't o t h e i r l o v e r s . F o r M e r l i n , V i v i a n * s lo v e d e n i e s know - j l e d g e , a n d Time c a l l s h im home; I s o l t ' s l o v e c r e a t e s know l e d g e . F o r L a n c e l o t , G u i n e v e r e 's l o v e d i v i d e s ; I s o l t ' s l o v e i s a l l - i n c l u s i v e . F o r T r i s t r a m , M o r g a n 's l o v e i s b u t p r i d e a n d p a s s i o n a n d c r e a t e s o n l y h a t e a n d c o n te m p t, an d I s o l t o f B r i t t a n y ' s l o v e , h e r " w h i t e n e e d o f h i m , " c r e a t e s p i t y a n d f a l s e l o v e ; I s o l t o f I r e l a n d ' s l o v e i s so t r u e t h a t T r i s t r a m c a n s e e t h a t l o v e i s t h e o n l y t h i n g t h a t " i s w h a t i t seem s t o b e . " F o r M e r l i n t h e r e i s r e a s o n , d u ty , a n d T im e. F o r L a n c e l o t t h e r e i s h i s i n t e g r i t y a n d h i s J L i g h t . F o r T r i s t r a m " a l l was l o v e . " M e r l i n s e e s two p a t h s b u t e n d s i n d a r k n e s s . L a n c e l o t , c h o o s in g t h e p a t h o f " t h e ' i l i g h t t h a t G a la h a d s a w ," a c h i e v e s d a r k n e s s a n d " i n t h e d a r k n e s s came t h e L i g h t . " T r i s t r a m " p a y s a l l f o r a l l " a n d f i n d s s o m e th in g a f t e r l i f e t h a t i s n o t l i k e d e a t h : " a n d t h i s i s p e a c e . " I s o l t ' s l o v e a t t a i n s a h i g h e r fo rm b e c a u s e i t i s n o t o n l y a g i f t o f h e a r t a n d s e l f b u t o f l i f e i t s e l f . C o l l e c t i v e l y , t h e c h a r a c t e r i s t i c s o f t h e s e w om en-- V i v i a n , G u i n e v e r e , I s o l t o f B r i t t a n y , Q ueen M organ, a n d I s o l t o f I r e l a n d - - r e p r e s e n t t h e c o m p o s i t e R o b i n s o n i a n woman. She i s p h y s i c a l l y b e a u t i f u l , p i c t o r i a l l y l o v e l y , a n d b a s i c a l l y a m o r a l . She h a s a b o u t h e r a c h a rm a n d seduc;- t i v e n e s s t h a t g i v e s h e r a t tim e s a f e l i n e q u a l i t y ; y e t s h e | i s c a p a b l e o f a m o re e x a l t e d d e v o t i o n t o t h e p e r s o n b e l o v e d t h a n i s h e r l o v e r . H er p ro b le m , l i k e t h a t o f man, i s t h a t s h e i s i n v o l v e d i n a n i r r e s i s t i b l e e m o t i o n a l web; , 1 0 7 j i and s h e becom es more o r l e s s e f f e c t i v e , i d e a l l y , a c c o r d i n g | t o t h e e x p e r i e n c e o f lo v e 1. And s i n c e lo v e im p e ls p e r s o n a l ! i I f a t e o r d e s t i n y to w a rd d e f i n i t e i n d i v i d u a l fo rm , h e r a t t i - | |t u d e to w a rd l o v e s u g g e s t s i t s e l f a s a s i g n i f i c a n t a s p e c t ! o f h e r a t t i t u d e to w a rd P a te * She i s c h a r a c t e r i z e d by j s u p e r i o r s e n s i t i v i t y — t o s i t u a t i o n , t o t h e shadow o f T im e , I and t o t h e i n e v i t a b i l i t y o f F a t e . She i s a lm o s t a lw a y s j I 1 I more p e n e t r a t i n g t h a n t h e a t t e n d a n t m an. She i s i n t e l l i - | ■gent a l w a y s , i n t e l l e c t u a l o f t e n , th o u g h n o t e n o u g h t o a v o i d ' t h e t r a g e d y s h e i n i t i a t e s a s t h e i n s t r u m e n t f o r t h e r e a l i - | z a t i o n o f t h e o b s c u r e w o r k in g o f d e s t i n y . She s e e s w hat i s ■ i ! ; n e c e s s a r y , b u t s h e c a n n o t a v o i d P a t e , n o r c a n s h e a lw a y s | j h e a l t h e h e a r t o r t u r n away T im e . She i s n o t s o e a s i l y d e c e i v e d a s i s man by re m o te m ir a g e s n o r d o e s s h e s o e a g e r l y e m b race i l l u s i o n s . S h e , t h u s , seem s a t t i m e s t o be i n d i f f e r e n t o r a p a t h e t i c to w a r d F a t e j an d h e r a c t i o n s o f t e n seem t o b e m o t i v a t e d by p a s s i o n o r im p u ls e r a t h e r t h a n r e a s o n . T h e r e i s , e v e n , a t t i m e s a r e s u l t a n t c y n i c i s m , , She seem s t o f o l l o w a c a r p e d ie m p h i l o s o p h y , s e i z i n g t h e , i I p r e s e n t w i t h a l l i t s shadow s i n p r e f e r e n c e t o a n u n c e r t a i n • I | ' f u t u r e w h ich may be a l l d a r k n e s s . She may f l y i n t h e f a c e | o f tim e and d u t y a n d c i r c u m s t a n c e f o r o b v io u s t r a g e d y o r : I ' g iv e i n l e s s d r a m a t i c a l l y t o t h e t r a g e d y o f a s i l e n t s u f - ' J f e r i n g o f l o n e l i n e s s . ' | She i s , i n g e n e r a l , r e f i n e d i n t h o u g h t , s e l f - ] 108 i ' I I l a n a l y t i c a l * s e l f - e x p r e s s i v e , and g i v e n t o s e e i n g h e r s e l f I i ! I w i t h some c l a r i t y as b o t h v i c t i m i z e r and v i c t i m i z e d . She ; 1 i s p ro u d i n h e r k n o w led g e o f h e r w o r t h b u t hum ble i n h e r 1 t 1 : d o m in a n t n e c e s s i t y f o r lo v e and h e r depe.nde.nce u p o n man*-** j ! i jwho c a n n o t l i v e w i t h o u t h e r b u t f r e q u e n t l y c a n n o t l i v e w ith j i h e r o r f o r h e r . At t im e s s h e t o r m e n t s a n d b l i n d s t h e love-*' I ; damned man and r e d u c e s h im t o a f e r v o r e d e c s t a s y t h a t may ; i i ] l e a d h im t o f a l l fro m h i s i n d i v i d u a l p u r p o s i n g . She moves j j a s a b a s i c f o r c e to w a r d t h e a c c o m p lis h m e n t o f an i n e v i t a b l e ; . t r a g i c p u r p o s e and i n a n s w e r t o u n d e n i a b l e u r g e n c i e s . j - i |T h u s , d e s p i t e t h e t r a d i t i o n a l p i c t u r e o f woman a s t h e I i ) w e a k e r o f t h e tw o s e x e s , t h e R o b i n s o n i a n woman i s t h e i i I |t o w e r o f s t r e n g t h ; i t i s man who m ust be e n s l a v e d by woman,; ^not t h e o t h e r way a r o u n d . , * i T h i s , t h e n , i s t h e woman w hose t o r c h , t o g e t h e r w i t h t h e l i g h t t h a t G a la h a d f o u n d , ” i s y e t t o l i g h t t h e w o r l d . ” j B e c a u se o f R o b i n s o n ’s p r o c l i v i t y t o s y m b o lis m , t h e r e i s a t e n d e n c y — a lm o s t a c o m p u ls io n — t o d e a l w i t h ” t h e t o r c h ! o f woman” a s a s y m b o l, a s m ost c r i t i c s h a v e d o n e . I n d e e d , ; i t h e A r t h u r i a n poems f a i r l y b r i s t l e w i t h s y m b o ls ; sh a d o w s, I i j d a r k n e s s , L i g h t , f l o w e r s , s t a r s , k i n g s , k in g d o m s , s h i p s , | j ! je t c e t e r a , s t a n d a s s u c h o b v i o u s sy m b o ls t h a t " t h e t o r c h { ( I o f woman” seem s a lm o s t a ’’s e l f - e v i d e n t ” s y m b o l. The p r o b - ' ^lem o f t r e a t i n g t h e t o r c h a s a sy m b o l becom es im m e d ia te ly i co m p lex when one f i n d s t h a t v e r y n e a r l y no two c r i t i c s who 1 109 'h a v e d i s c u s s e d t h e A r t h u r i a n poems a g r e e on j u s t w h at i t i s t h a t t h i s ’’t o r c h o f woman” s y m b o l i z e s . T h e r e a r e , i n ' f a c t , b e t w e e n f o r t y and f i f t y c h a r a c t e r i s t i c s o r a b s t r a c t t i o n s w h ic h h a v e some t e x t u a l j u s t i f i c a t i o n i n one o r more o f t h e s e poems a s t h a t w h ic h r,t h e t o r c h o f woman” symbol*- i i z e s . B ut c o n s i d e r a t i o n o f " t h e t o r c h o f woman” a s a sym b o l i s s u c h a n o v e r - r i d i n g c o n s i d e r a t i o n t h a t i t m u st be d i s c u s s e d b e f o r e any o t h e r c o n s i d e r a t i o n . I f t h e ’’t o r c h o f woman” be a s y m b o l, t h e f i r s t and •most o b v io u s c h o i c e f o r t h e a b s t r a c t i o n s y m b o l i z e d i s l o v e , I [T h is i s p a r t i c u l a r l y t r u e f o r one who r e a d s t h e t h r e e i i jpoems i n t h e same o r d e r t h a t R o b in s o n w r o te th e m , f o r t h e ; lo v e o f woman p r o g r e s s i v e l y i n t e n s i f i e s fro m V i v i a n t o ; I s o l t o f I r e l a n d . I n t h e o p e n in g l i n e s o f M e r l i n , D a g o n e t t e l l s u s t h a t ’’V i v i a n h o l d s [ M e r l i n ] w i t h h e r l o v e , ” and he s e e s a c l a s h b e tw e e n L ove and P h i l o s o p h y ; and M e r lin i s p o r t r a y e d a s o b l i v i o u s o f t h e w o r l d o u t s i d e B r o c e l i a n d e , ’’w h ere t h e k i n g / Was Love a n d t h e Q ueen V i v i a n , ” I n Lance*, l o t , L a n c e l o t t e l l s G u i n e v e r e t h a t ’’w h a t i s a l l f o r y o u / !I s a l l f o r l o v e . ” I n T r i s t r a m , I s o l t o f I r e l a n d t e l l s T r i s t r a m t h a t t h e i r lo v e i s " l a r g e r t h a n a l l t i m e and • p l a c e s , / And s t r o n g e r b e y o n d k n o w le d g e ” and b r i n g s him t o 1 know ’’w h e re l i f e h a d b e e n s o lo n g t h e f u e l / O f l o v e ” u n t i l i t h e y s a y t o e a c h o t h e r , ’’You a r e t h e w o r l d . ” B u t Love i I a l o n e i s n o t e n o u g h t o s a v e man; f o r L a n c e l o t ’’m akes w ar 110 ; ■ o f l o v e , ” an d A r t h u r , " b e i n g b i t t e n t o t h e s o u l / By l o v e | ' - j jan d h a t e , . . , / Makes w a r o f m a d n e s s ," an d M organ w eaves 'f r o m lo v e o n l y t h e f a b r i c o f re v e n g e * I f lo v e h a s b u t t h e I j p h y s i c a l e x p e r i e n c e , t h e p a s s i o n and t h e p l e a s u r e , i t ca n l e a d o n l y t o s p i r i t u a l d e f e a t ^ a s i.n t h e c a s e o f A r t h u r | i i ;a n d M e r l i n — o r t o s u f f e r i n g — a s i n t h e c a s e o f L a n c e l o t , .R o b in s o n t e l l s u s i n e a c h o f t h e t h r e e poems t h a t B a te i s s t r o n g e r t h a n l o v e , I I Y e t C a r p e n t e r ’s r e a d i n g o f t h e " t o r c h o f woman" a s a ! i O j ; sym bol o f t r a n s c e n d e n t a l l o v e ^ d o e s seem j u s t i f i e d b e c a u s e • i 1 : o f t h e ad d ed a d j e c t i v e . S u c h r e a d i n g , th o u g h , i s r e l e v a n t ! p r i m a r i l y t o T r i s t r a m i n w h ic h T r i s t r a m and I s o l t a c h i e v e ' ■peace b y l i v i n g l i f e t o f u l f i l l m e n t w i t h no r e g a r d f o r t h e * l e n g t h o f l i f e . T h e i r t r i u m p h o v e r tim e i s s y m b o liz e d by j t h e s h i p " T h a t w i t h o u t m o tio n moved fro m h o u r t o h o u r / ; ! F a r t h e r a w a y ." I s o l t h a d s a i d t h a t s h i p s i n t h e i r l a s t 'p o r t " h a v e s t i l l a f a r t h e r v o y ag e t o m a k e ," T h i s b e l i e f ' i s w h a t C onner c a l l s " c o s m ic o p t i m i s m , a n d t h i s b e l i e f i s t o be fo u n d i n R o b i n s o n ’ s e a r l i e r poem s: "The Man j A g a i n s t t h e S k y " ( l i n e 3 4 , p , S a l i n e 4 , p . 6 9 ) , " C re d o " i ( l i n e s 9 - 1 4 , p . 9 4 ) , an d " O c t a v e s " (num ber X, p . 1 0 3 ) , a l l j i f 2 ' i " T r i s t r a m t h e T r a n s c e n d e n t , " New E n g la n d Q u a r t e r l y , ) 1 1 : 5 1 6 , S e p te m b e r 1 9 3 8 . 1 J " R o b i n s o n , " Cosmic O p tim ism : A S tu d y o f t h e I n te r * - * :p r e t a t i o n o f E v o l u t i o n by A m erican' P o e t s fro m E m erso n t o 1 R o b in s o n ( G a i n e s v i l l e F l a ' . , i'9'49), p , 3 6 6 . ' ' ' ................... ; h i ! w r i t t e n b e f o r e t h e A r t h u r i a n poem sj e x p r e s s s p e c i f i c b e l i e f : 1 1 i n some k i n d o f a f t e r l i f e * - ~ s o m e b e g i n n i n g a f t e r d e a t h . I |But r e a d i n g Love as o n ly a t e m p o r a l o r p h y s i c a l e x p e r i e n c e , I 4 S < |a s d o e s E s t e l l e K a p la n o r Mark Van D o r e n , i s u n s a tis * * ; 1 i !f a c t o r y . I Y e t, w h i l e p h y s i c a l lo v e i s u n s a t i s f a c t o r y , t h e r e i s ' some t e x t u a l j u s t i f i c a t i o n o f t h e t o t a l m a t e r i a l w o r l d as ■ i ,rt h e t o r c h o f w om an,” L a n c e l o t s e e s G u in e v e r e a s ” t h e w o r l d he was l o s i n g ” a s he p u r s u e d t h e L i g h t , an d M e r l i n ;s e e s V i v i a n i n h e r " g o l d e n s h e l l o f e x i l e , ” c o m p l e t e l y un~ c o n c e r n e d w i t h t h e w o r ld o f r e a l i t y w h i l e c r e a t i n g h e r own | j w o r l d o f s e n s u a l , p h y s i c a l p l e a s u r e s . Y e t , i n e a c h o f t h e t ' i J t h r e e poems R o b in s o n s p e c i f i c a l l y s t a t e s t h a t t h e w o r l d i 1 ! ;h a s no p l a c e f o r t h e l o v e r s . The " t o r c h o f w om an,” t h e n , : I , h a s m e a n in g n o t a s m a t e r i a l e x p e r i e n c e b u t i n s p i t e o f i t . i T h e s e p e o p l e ( p a r t i c u l a r l y t h e women) i g n o r e t h e p h y s i c a l j w o r ld t o l i v e i n p a r a d i s e , n o t b e c a u s e t h e y w is h t o e s c a p e fro m t h e w o r l d , b u t b e c a u s e t h e p h y s i c a l w o r ld s im p l y d o e s j n o t m a t t e r . Y et t h e r e i s some t r o u b l i n g c o n n e c t i o n h e r e ; i I I s o l t o f I r e l a n d (a n d t h e o t h e r s a s w e l l ) makes p o s s i b l e j i : j t h e l i v i n g o f l i f e t o i t s f u l l e s t e v e r y m in u te ? T r i s t r a m ^ I . j t a k e s i n t e n s e p l e a s u r e w h i l e a t Jo y o u s G a rd i n c o m r a d e s h ip ,; ! ! 4 P h i l o s o p h y i n t h e P o e t r y o f E d w in A r l i n g t o n R o b in s o n : (M ornings'iide H e ig h t's ,' New' Y o rk , 1940')',' p . 94, ' ' ^E dw in A r l i n g t o n R o b in s o n (New Y o rk , 1 9 2 7 ), p . 90. 112 i . s o l i t u d e , t r e e s , f l o w e r s , and sw eep o f w in d a c r o s s t h e s e a , i H is l i f e i s r a i s e d t o an i n t e n s i t y o f e x p e r i e n c e n e v e r b e f o r e known. The " t o r c h o f woman" i s , t h e n , c o n c e r n e d w i t h t h e i n t e n s i t y o f e x p e r i e n c e b u t n o t w i t h s e l f i s h e x - i j p e r i e n c e o f m a t e r i a l g a i n , p r i d e , a m b i t i o n , o r h a t e , f o r j ! t h e s e may be d e s t r o y e d by F a t e , L lo y d M o r r i s ’s r e a d i n g o f t h e " t o r c h o f woman" a s a n j | i n t u i t i o n t o t r u t h and t h e a s p i r a t i o n o f t h e s p i r i t ^ h a s j I j u s t i f i c a t i o n i n a l l t h r e e p o e m s, V i v i a n , who " h a s s i g h t / ' f o r d i s t a n t t h i n g s , " i s c h a r a c t e r i z e d a t t h e e n d o f M e r l i n | a s one I ] | . . . whose u n q u i e t h e a r t i s h u n g r y [ 1 F o r w hat i s n o t , an d w h at s h a l l n e v e r be j ! W ith o u t h e r , i n a w o r l d t h a t men a r e m a k in g , ; : Knowing n o t how, n o r c a r i n g y e t t o know ' How s l o w l y a n d how g r i e v o u s l y t h e y do i t , — T hough V i v i a n , i n h e r g o l d e n s h e l l o f e x i l e , Knows and c a r e s , n o t know ing t h a t s h e c a r e s , Nor c a r i n g t h a t s h e know s. ( p , 311) And G u in e v e r e i s s u r p r i s e d a t L a n c e l o t ’ s l a c k o f v i s i o n a t Jo y o u s G a rd : We a r e t o l d o f o t h e r S t a t e s i Where t h e r e a r e p a l a c e s , i f we. s h o u ld n e e d th e m , T h a t a r e n o t made w i t h h a n d s , I t h o u g h t you knew , ! j ( p . 4 4 0 ) ; j l s o l t o f I r e l a n d ^ s i n t u i t i v e k n o w led g e o f t h e j o u r n e y a f t e r , ! i i i 'd e a t h an d I s o l t o f B r i t t a n y ’s f o r e k n o w le d g e o f T r i s t r a m ’s ( a w a i t i n g f a t e (a n d h e r s , t o o ) b o t h i n d i c a t e i n t u i t i o n t o a. The P o e t r y o f B dw in A r l i n g t o n R o b in s o n : An E s s a y i n [A p p r e c i a t i o n (iNew Y o rk , 19 2 '3 ) ,' p .' '5 i , r ' 113 ! I t r u t h and t h e a s p i r a t i o n o f t h e s p i r i t . T h i s i n t e r p r e t a t i o n o f ■ " t h e t o r c h o f woman" i s , h o w e v e r , u n s a t i s f y i n g * N e i t h e r V i v i a n n o r I s o l t o f B r i t t a n y " s a v e s " h e r man, and . i t a p p e a r s t o s t r a i n t h e sy m b o l g r e a t l y t o j u s t i f y G u in e - j I v e r e ’s i n t u i t i o n , a n d a s p i r a t i o n a s t h a t w h ic h s a v e s L a n c e 1 - ! i i ' l o t * E v e n I s o l t o f I r e l a n d " s a v e s " h e r man o n l y i f one j a g r e e s t h a t s h e b r e a k s t h e Time b a r r i e r ; E l s w o r t h B e r n a r d , ■ t I f o r e x a m p le , f e e l s t h a t T r i s t r a m an d I s o l t f a i l ( t h a t i s , ' 7 1 I s o l t ’s " t o r c h " f a i l s ) and t h e y s i m p l y d i e * > J The same k in d o f h a l f — j u s t i f i c a t i o n may be fo u n d f o r J | f e e l i n g ( a s o p p o s e d t o mind o r r e a s o n ) a s " t h e t o r c h o f ' i iw om an." T he d i s t i n c t i o n h e r e i s t h e same a s A r c h i b a l d ■ I \ ' I ■MacLeish m akes b e tw e e n p o e t r y an d j o u r n a l i s m : " J o u r n a l i s m ! ( i s c o n c e r n e d w i t h e v e n t s , p o e t r y w i t h f e e l i n g s * J o u r n a l - | ! • ism i s c o n c e r n e d w i t h t h e lo o k o f t h e w o r l d ; p o e t r y i s co n -j t O » c e r n e d w i t h t h e f e e l o f t h e w o r l d . " B ut " k n o w le d g e w i t h - ■ o u t f e e l i n g i s n o t k n o w led g e and c a n l e d o n l y t o . , * i r r e s p o n s i b i l i t y and i n d i f f e r e n c e " ( p , 4 5 ) . E a c h o f t h e !women so i n t e n s i f i e s m a n ’s k n o w le d g e t h a t he f e e l s h i s ■knowing; t h a t i s , k n o w le d g e and t h e r e a l i z a t i o n o f know - ■ I le d g e a r e i n t e g r a t e d . Man’ s k n o w led g e o f t h e w o r ld and ; i i 7 E d w in A r l i n g t o n R o b in s o n : A C r i t i c a l S tu d y (New Y ork, 1 9 5 2 ) , p. 2 5 3 . i i ^"The P o e t and t h e P r e s s , " A t l a n t i c , 2 0 3 : 4 3 , M arch ; i 1959. 1 114 I ( h i s f e e l o f t h e w o r ld a r e made one by " t h e t o r c h o f woman” ; | y e t , a s w i t h woman*s i n t u i t i o n t o t r u t h an d h e r a s p i r a t i o n o f s p i r i t , f e e l i n g d o e s n o t " s a v e " t h e men, 1 | One may j u s t i f y , a l s o , " t h e t o r c h o f woman” a s t h e i ; i o p p o s i t i o n t o k in g s ? t h a t i s , t o m an ’s p o l i t i c a l a n d s o c i a l ; I ■world, t h e ”w o r id t h a t men a r e m a k i n g ,” E a c h o f t h e women : • p r o t e s t s m an ’ s w o r l d , and sh e seem s t o s t a n d f o r t h e nec~ 1 e s s a r y o p p o s i t i o n t o b r i n g a b o u t c h a n g e i ”w h at s h a l l n e v e r , b e / W ith o u t h e r . ” V i v i a n s p e a k s w i t h b i t t e r n e s s a b o u t t h e ! p o l i t i c a l an d s o c i a l w o r l d o f A r t h u r , w i t h i t s " c l o t s and i i ' , ]wounds and b r i s t l e s ” ; G u in e v e r e s p e a k s w i t h b i t t e r n e s s j | I , a b o u t m an’s b lo o d y game he p l a y s ; and b o t h I s o l t s s p e a k ' i i j w i t h b i t t e r n e s s a b o u t m an ’s way o f r u n n i n g t h e w o r l d , t , Em ery N e f f e v e n i s o l a t e s t h i s t o s e e " t h e t o r c h o f woman” I a s " t h e w o r l d ’s s a l v a t i o n t h r o u g h t h e i n s t i n c t t o a b h o r j w a r . B u t t h i s i s t o o n e g a t i v e a. c o n c e p t t o e x p l a i n " t h e t o r c h o f w om an," f o r t h e r e i s no p o s i t i v e p ro g ra m under>- s t a n d a b l e , R o b i n s o n ’s s t a t e m e n t i s to o s t r o n g t o b e sa tis* * . f i e d by m e r e ly n e g a t i o n o f m an’ s w o r l d , t r u e a s t h a t n e g a ~ ; t i o n i s i n t h e A r t h u r i a n poems* I t i s n o t enough t o s a y , i w h a t woman’s t o r c h i s n o t . ! i ! A p o s i t i v e r e a d i n g o f t h e " t o r c h o f woman" i s t h a t i i t s y m b o l i z e s woman’s c a p a c i t y t o d e f y T im e, V i v i a n t e l l s : ; ^Edwin A r l i n g t o n R o b in s o n (New Y o rk , 1 9 4 8 ) , p . 1 9 4 . 115 M e r l i n t h a t a t B r o c e l i a n d e t h e y a r e ’"'out o f Time and o u t o f tu n e w i t h T im e1’ and I s o l t t e l l s T r i s t r a m t h a t " T h is i s ! a l w a y s , " b u t t h i s i s m e r e ly a r e s t a t e m e n t o f C o n n e r ’s / ’c o sm ic o p tim is m " o r C a r p e n t e r ’s " t r a n s c e n d e n t a l l o v e ' :1 and ; jh a s t h e same e l e m e n t o f p a r t - t r u t h . Or o n e may r e a d wo-* ; i m an’s t o r c h a s s e l f l e s s n e s s , b u t t h i s i s o n l y a n e x t e n s i o n t ’ i I ! o f t h e d i s c u s s i o n o f t h e t o r c h a s a sym bol o f t h e m a t e r i a l J iw o r ld , e v e n th o u g h t h e r e i s no q u e s t i o n t h a t e a c h o f t h e j I ; women r a i s e s , o r a t t e m p t s t o r a i s e , h e r l i f e an d t h e l i f e ! o f h e r l o v e r ab o v e s e l f - c o n c e r n . S i m i l a r l y , b u t w i t h t h e \ I .same p a r t l y t r u e b u t o n l y p a r t l y s a t i s f y i n g r e s u l t s , we ! 1 I :may r e a d " t h e t o r c h o f woman" a s b e a u t y , y o u t h , n a t u r e ( th e j b a s i c l i f e f o r c e ) , s o u l , t h e pow er t o r e a d Time o r t o s e e I t h e f u t u r e , and many a d d i t i o n a l a b s t r a c t i o n s . What i s J i m p o r t a n t i s t h a t t h e r e i s j u s t i f i c a t i o n f o r e a c h o f t h e s e ; ! I ;y e t none i s s a t i s f a c t o r y a l o n e a s " t h e t o r c h o f wom an." A l l o f w h ic h f o r c e s one b a c k t o R o b i n s o n ’s s t a t e m e n t i i ; "The ’ t o r c h o f women’ jj s i c J i s t o b e t a k e n l i t e r a l l y . " The . " t o r c h o f woman" i s n o t a sym bol o f s o m e t h i n g , a t l e a s t n o t ' ‘a s a w e s t e r n g a t e i s t h e sy m b o l o f d e a t h o r a f i e l d o f ' I j w i n t e r snow i s a sy m b o l o f o l d ag e o r " t h e L i g h t t h a t G a la -, |h a d f o u n d " i s t h e sy m b o l o f t h e " s p i r i t u a l r e a l i z a t i o n o f t h i n g s an d t h e i r s i g n i f i c a n c e s . " One s im p l y c a n n o t s a y ■ j t h a t lo v e and G a l a h a d ’s L i g h t w i l l s a v e u s a l l ; n o r c a n ; one s a y y o u th and G a l a h a d ’s l i g h t , o r woman’s i n t u i t i o n ; 1X6 an d G a l a h a d 's l i g h t , o r b e a u t y o r s e l f l e s s n e s s o r o p p o s i - . t i o n t o k i n g s o r any o t h e r s i n g l e c h a r a c t e r i s t i c and Gala-- C h a d 's l i g h t w i l l some d ay s a v e t h e w o r I d : one m u st s a y ( "woman’* and t h e " L i g h t * 1 a r e " y e t t o l i g h t t h e w o r l d " - - i ' woman, " t h e t o r c h o f w om an," t h e t o t a l i t y o f woman, t h e ; f u l l sw eep o f f e m i n i n e n a t u r e , and G a l a h a d 's L i g h t , w i l l 1 f i r e and i l l u m i n a t e t h e way o f s a l v a t i o n # And woman, t h i s f u l l sw eep o f f e m in in e n a t u r e , r e p r e s e n t s a w ide r a n g e o f a t t i t u d e s , c a p a c i t i e s , and c h a r a c t e r i s t i c s , She i s , f i r s t , b e a u t i f u l and warm, p o s s e s s i n g j g r e a t p h y s i c a l b e a u t y s u s t a i n e d w i t h w i t an d c h arm and !g r a c e , She g i v e s man p h y s i c a l l o v e , j o y , c o m p a n i o n s h i p * i |M ore t h a n t h i s , s h e f i l l s h i s l i f e i h e r b e w i t c h i n g l o v e l i - :n e s s f i l l s h i s e y e s w i t h b e a u t y , h e r v o i c e b r i n g s a s o f t n e s s o f so u n d l i k e " b l e n d e d g o ld and v e l v e t , " h e r p l a y f u l w i t b r i n g s d e l i g h t f u l c o n v e r s a t i o n , a n d h e r se.nsuous.ness |a n d p a s s i o n f u l f i l l s p h y s i c a l d e s i r e . S he makes t h e w o r ld o f t h e s e n s e s b o t h m e a n i n g f u l and d e l i g h t f u l f an d a l l t h i s i sh e g i v e s s e l f l e s s l y t o man w i t h a d e v o t i o n b e y o n d h i s I i i i j u n d e r s t a n d i n g : "My w o r th i s o n ly What i t i s t o y o u # ’* I ;T h u s , woman b r i n g s man t o know an d t o f e e l t h e w o r l d , n o t | t h e m ere shadow o f t h e w o r l d . She s h a r p e n s h i s s e n s e s , j and s h e o f f e r s t h o s e t h i n g s w h ic h may make h i s p h y s i c a l I j l i f e a c o n s t a n t d e l i g h t . Man l e a v e s home i n t h e m o rn in g f i l l e d w i t h t h e j o y o f f a c i n g t h e new d a y , c o n t e n t , a l i v e 117 t o b e a u t y a r o u n d h im , k e e n l y aw are o f t h e w arm th t h a t a w a i t s h i s r e t u r n , an d he r e t u r n s a t n i g h t t o charm and c o m p a n io n s h ip , t o p l a y f u l w a rm th , t o p i c t o r i a l l o v e l i n e s s , and t o p a s s i o n a t e l o v e , ! Nor i s t h i s a l l . Woman s o i n v o l v e s man i n t h i s l i f e ; ! | j t h a t he c a n n o t d r i f t , o n ly r e a c t i n g t o t h e a c t i o n s o f j j o t h e r men o r t o t h e t u r n i n g o f P a t e , She co m p e ls him t o j ' q u e s t i o n h i s e x i s t e n c e , t o l o o k a b o u t a t h i s w o r ld o f t r a - i ' d i t i o n and c u s to m and d u t y and r i t u a l an d t o a s k w hy. She co m p els man t o t a k e h o l d o f h i s own d e s t i n y , t o d i r e c t h i s i ; own a f f a i r s i n s o f a r a s m ankind may d i r e c t i t s own a f f a i r s * J l ;She f o r c e s him t o r e c o g n i z e , t o a n a l y z e , and t o e v a l u a t e 1 ! j : h i s l o y a l t i e s , h i s v a l u e s , an d h i s i d e a l s . She g i v e s t o | 4 I ‘man t h e c a p a c i t y f o r a c t i v e , a s o p p o se d t o p a s s i v e , l i v i n g , j 1 B ut su c h i n d i v i d u a l i z i n g o f m a n ’s f a t e i s n o t w i t h o u t c o s t r ! I [ t h e v e r y s t r u c t u r e o f m an’s w o r l d — h i s t r a d i t i o n s , h i s i c u s to m s , h i s r i t u a l , and h i s d u t i e s — i s c h a l l e n g e d and i s ’ so m e tim e s s h a t t e r e d ! f o r o n ly t h r o u g h nt h e t i m e - i n f u r i a t i n g . I f la m e o f a w re c k e d e m p i r e " i s woman a b l e t o " l i g h t t h e J [ w o r l d , " I t m ust be t h r o u g h d e s t r u c t i o n , J ! i j T h i s p o w e r, s u s t a i n e d by b e a u t y and w a rm th , i s t h e n 1 1 g i v e n d i r e c t i o n t h r o u g h woman’s s e n s i t i v i t y , i n t u i t i o n , and' w isdom , and t h r o u g h h e r p r o f o u n d c o n v i c t i o n i n t h e e f f i c a c y o f m o ra l i d e a l i s m , Man s e e s l i f e r u l e d by Tim e and Change b e c a u s e h i s p h i l o s o p h y i s m e c h a n i s t i c and m a t e r i a l i s t i c ; 118 ' t h e d i r e c t i o n h i s l i f e an d t h o u g h t and a s p i r a t i o n may t a k e i s , t h u s , c i r c u m s c r i b e d by s e v e r e l i m i t a t i o n s and r e s u l t s i n s e l f i s h n e s s , g r e e d , l u s t , p o w e r, a m b i t i o n , f r u s t r a t i o n * 1 |a n d s p i r i t u a l b a n k r u p t c y . Woman g i v e s man t h e e y e s o f T i m e : ! ' iso t h a t he may s e e ; t h a t i s , s h e g i v e s man a c o n c e p t i o n o f | ; I I h u m a n ity a n d i t s p r o g r e s s i v e d e s t i n y , and sh e t a k e s away I ! i t h e l i m i t a t i o n s o f Time and C h a n g e . She g i v e s man a new I d i r e c t i o n , a new p h i l o s o p h y , a new f a i t h ; and s h e g i v e s m an 1 i !an o p e n - e n d e d v ie w o f l i f e . T h ro u g h h e r * man comes t o know! ; t h a t ’’The w o r l d h a s p a i d e n o u g h f o r Came l o t . ” T h ro u g h h e r , j man s e e s t h a t ’’S e l f i s h n e s s h a n g s t o a man l i k e a lobster-**- ( | i rj I ■and i s t h e t h i n g t h a t k e e p s h u m a n ity w h ere i t i s . ” 1 I 1 |T h ro u g h h e r , man s e e s t h a t b e a u t y and h a p p i n e s s a r e tran*- | s i e n t , t h a t f e e l i n g i s more i m p o r t a n t t h a n k n o w in g , t h a t ( ; i i n t e n s i t y o f l i f e i s more i m p o r t a n t t h a n l e n g t h o f l i f e . I ;He r e a l i z e s t h i s o n l y a f t e r s h e h a s t a u g h t him t h a t tim e i s , . r e l a t i v e : ’’Y e a r s a r e n o t l i f e ; / Y e a r s a r e t h e s h e l l s o f I j l i f e , t h e em pty s h e l l s / When th e y h o l d o n ly d a y s , d a y s , i ' d a y s . ” She l i f t s t h e f r u s t r a t i n g b u r d e n o f C h an g e , o f j I ' i t jTim e, o f F a t e ; s h e rem oves t h e d e s o l a t i o n o f f u t i l i t y and j d e s p a i r . Woman’s t o r c h i s ’’t h e l i g h t o f a f a r w is d o m / j jT in g e in g w i t h ho p e t h e n i g h t o f t i m e . ” i ! •*-®Robinson, S e l e c t e d L e t t e r s . , comp. R i d g e f y T o r r e n c e (New Yoric^ 1 9 4 0 ) , P* l i • 1 1 9 . Woman, ’’t h e t o r c h o f w om an,” t h u s , l i g h t s t h e way by j g i v i n g man A ll-.T im e-.~ not o n l y i m m o r t a l i t y b u t t h e b e a u t y • i a n d pow er t o s u s t a i n him i n h i s e a r t h l y l i f e , t o make i t v i t a l , t o make i t m e a n i n g f u l , and t o make i t c l e a r t h a t i t ! i s n o t a l l i n v a i n w hen i t i s n o t v a i n : I A l l t h i s t h a t was t o be I M ig h t show t o man how v a i n i t w ere t o w re c k 1 The w o r ld f o r s e l f i f i t w ere a l l i n v a i n * j | ( p . 3 0 7 ) | i !And t o s e e h i m s e l f i n r e l a t i o n t o a f o r c e m ore p o w e r f u l [ I ' t h a n Change o r Time o r P a t e : ! * I i j When I b e g a n w i t h A r t h u r I c o u ld s e e | I n e a c h b e w i l d e r e d man who d o t s t h e e a r t h j ! A moment w i t h h i s d a y s a g r o p i n g t h o u g h t I Of an e t e r n a l w i l l , s t r a n g e l y endowed W ith m e r c i f u l i l l u s i o n s w h e re b y s e l f Becomes t h e w i l l i t s e l f an d e a c h man s w e l l s 1 I n fo n d a c c o r d a n c e w i t h h i s a g e n c y , ( p . 307) j And, t h u s , t o s e e t h a t man m ust l o s e h i s w o r ld t o f i n d i t : j Now A r t h u r , M o d red , L a n c e l o t , an d G awaine A re s w o l le n t h o u g h t s o f t h i s e t e r n a l w i l l I W hich h av e no o t h e r way t o f i n d t h e way ; T h a t l e a d s th e m on t o t h e i r i n h e r i t a n c e j T h an by t h e t i m e - i n f u r i a t i n g f la m e j j O f a w re c k e d e m p i r e , l i g h t e d by t h e t o r c h O f woman, who, t o g e t h e r w i t h t h e l i g h t T h a t G a la h a d r o u n d , i s y e t t o l i g h t t h e w o r l d . ' ( p . 30 7 ) i i iMan may r e a c h t h e L i g h t by a b a n d o n in g h i m s e l f c o m p l e t e l y to , i t h e jo y an d h a p p i n e s s o f c o m p l e t e l y v i t a l l i v i n g t o be 1 fo u n d i n and t h r o u g h woman a n d t h e e x p e r i e n c e o f s e l f l e s s , t o t a l l o v e . T h i s n e c e s s i t a t e s a b a n d o n in g t h e w o r ld o f ■ usual r e l a t i o n s h i p s , c u s to m s , t r a d i t i o n s , i n s t i t u t i o n s , p r o b le m s , c o n f l i c t s , and m a t e r i a l i s m f o r t h e p a r a d i s e o f a J o y o u s G ard o r B r o c e l i a n d e , w a l l e d o f f fro m m an ’s w o r ld and a s i n d e p e n d e n t l y s e c u r e a s a womb* T h ro u g h t h i s k i n d ■ o f a b a n d o n , Time may become u n i m p o r t a n t u n t i l d e a t h comes and l i f e b e g i n s * One m ust lo s e h i s l i f e t o s a v e i t * i But w h at a way t o s a v e i t I W ith t h e ’’t o r c h o f woman” 'E d w in A r l i n g t o n R o b in s o n a c h i e v e s a k in d o f u l t i m a t e i d e a l j ism* T h i s i d e a l i s m i s , p e r h a p s , t h e r e s u l t o f l i m i t e d I f i r s t h a n d i n f o r m a t i o n a b o u t women, R o b in s o n a p p a r e n t l y h ad n o t one s i n g l e e x t e n d e d p h y s i c a l - e m o t i o n a l r e la tio n * * i ' s h i p w i t h a woman, and he h a d o n l y tw o r o m a n ti c a s s o c i a - i t i o n s w i t h women— one b r i e f rom ance i n h i g h s c h o o l and one s h o r t r e l a t i o n s h i p when he was a young man o f t w e n t y - e i g h t !Y e t, d e s p i t e t h i s l a c k o f f i r s t h a n d k n o w led g e ( o r p o s s i b l y b e c a u s e o f i t ) , R o b in s o n ’’lo o k e d upon a b a c h e l o r a s o n ly h a l f a man” b e c a u s e h e had ’’a lw a y s b e l i e v e d i n l o v e , and I 11 s h a l l a lw a y s b e l i e v e i n i t , ” B ut t h e r e seem s t o o much o f t h e a d o l e s c e n t - e a r l y m an- i hood n a i v e t e and r o m a n ti c d re a m . T h e r e i s n o t h i n g i n h i s j i l e t t e r s , i n t h e v a r i o u s b i o g r a p h i e s and s t u d i e s , o r i n t h e A r t h u r i a n poems t o i n d i c a t e any r e a l k n o w led g e o f t h e t ■ p h y s i c a l - e m o t i o n a l , s p i r i t u a l phenom enon o f lo v e * And j 1 t h e r e i s n o t h i n g t o i n d i c a t e t h a t he u n d e r s t a n d s o r e v e n •^•k l n t r i a n g u l a t e d S t a r s ; » , * , e d . Denham S u t c l i f f e , (C am bridge ,r M a s s ',', 1 9 4 7 ) , p* T 5'6V knows t h a t s t r a n g e , c o n f u s e d , and c o m p l i c a t e d cre a tu re * * * woman. I t seem s a r e a l p o s s i b i l i t y t h a t R o b i n s o n 's know ledge o f woman may h a v e n e v e r d e v e l o p e d b e y o n d h i s e x p e r i e n c e as a h i g h s c h o o l boy and a s a young man, t h a t i s , a k i n d o f p e r e n n i a l l y s o p h o m o ric d re a m in g and w i s t f u l t h i n k i n g s He s e e s woman a s a b e a u t i f u l c r e a t u r e , c h a r m in g , l o v e l y , s e d u c t i v e , p a s s i o n a t e , who i s e n t i r e l y m a n - o r i e n t e d and I who g i v e s h e r l i f e c o m p l e t e l y t o t h e man; she i s i n t e l l i - i g e n t and p l e a s a n t a s a co m p an io n and i s t h o r o u g h l y s a t i s — V i v i a n , G u i n e v e r e , M organ, and t h e tw o I s o l t s a r e l e s s j a u t h e n t i c and p l a u s i b l e t h a n t h e y a r e f a n c i f u l and q u i x - I j o t i c ; i n d e e d , t h e y a r e t h e h i g h s c h o o l o r young c o l l e g e i [ b o y 's c o n c e p t o f woman. V i v i a n p r o v i d e s t h e r o m a n ti c s e t - ' t i n g w i t h c a n d l e - l i g h t and s o f t m u s ic , s e r v e s a d e l i c i o u s [m e a l, and d e l i g h t s h e r l o v e r w i t h w i t t y , p l a y f u l d i n n e r i c o n v e r s a t i o n , a l l t h e w h i l e s p e a k i n g o f t h e m a n 's g r e a t - i n e s s ; b u t a f t e r d i n n e r , " i n h e r f r a g i l e s h e a t h o f c r i m s o n , " !s h e s e d u c t i v e l y s u r r e n d e r s h e r s e l f w i t h " h o t l i p s " t h a t l e a v e o n ly "one p h i l o s o p h y , " and i n th e m o r n in g , a p p e a r s on I |t h e p i l l o w b e s i d e t h e man a s a " s l e e p i n g * . . i n n o c e n t c h i l d . " G u in e v e r e i s a b i t more f o r w a r d . T h i s " r u s s e t i a p p a r i t i o n " t h r u s t s h e r s e l f a g a i n s t t h e man a n d , i g n o r i n g t h e d a n g e r t h a t h e r h u s b a n d may a p p e a r , m urm urs, "w o u ld you 1 2 2 , I come t o me t o n i g h t ? ” One f a i r l y b r e a k s o u t i n a s w e a t; ! "God, w h a t a wom an!" Yet* e v e n more b r a z e n i s Q ueen Mor** g a n , a k i n d o f p r o f e s s i o n a l l o v e r , n o t a p r o s t i t u t e b u t a i v e r y e x p e n s i v e m i s t r e s s w i t h a l u r i d p a s t and i t s a t t e n d a n t , I e x p e r i e n c e , I s o l t o f I r e l a n d i s a l l f i r e * She comes t o j ih e r l o v e r s p e c i f i c a l l y t o g i v e h e r s e l f f o r a s l o n g a tim e I < ; i , a s p o s s i b l e , " A ll' h e r f i r m l i t h e n e s s " " m e l t s i n s u r e sur** ! i r e n d e r , " " h e r bo d y t h r o b b i n g " "w arm i n h i s a r m s , " and ,! 0 .n ; i h i s m outh a m oving f i r e . " And l a s t , I s o l t o f B r i t t a n y i s ■ i | i n n o c e n t , s w e e t , an d e h i l d - * l i k e „ H er h a p p i n e s s , h e r v e r y I m e a n in g , d e p e n d s upon t h e man* She g i v e s h e r s e l f t o t h e 'man f o r a s lo n g a s he w a n ts h e r , n e v e r d em anding a n y t h i n g ' I i f o r h e r s e l f . She e v e n u n d e r s t a n d s when h e r l o v e r w is h e s j t o s p e n d some tim e w i t h t h e " o t h e r w om an," f o r sh e w i l l be ( a v a i l a b l e when he w is h e s t o r e t u r n * | i T h e se women do n o t e x i s t * T hey a r e t h e c r e a t u r e s o f t h e a d o l e s c e n t d re a m . I f one d re a m s o n l y , t h e y may p o s s e s s ! i g r e a t b e a u t y , w arm th , p o w e r, and l i g h t * B ut t h e d re a m i s ; i n s u b s t a n t i a l , a i r y . The " t o r c h o f woman" seems l e s s a l j ( f l a m i n g l i g h t t h a n an a r t i f i c i a l l y s u s t a i n e d g as f l a m e , j i P e r h a p s R o b in s o n r e a l i z e d t h e s e s h o r t c o m i n g s o f th e J | I ; " t o r c h o f wom an." We a r e re m in d e d t h a t R o b in s o n an n o u n c e d i t h a t i t a l o n e was n o t t o l i g h t t h e w o r ld * ■ i i BIBLIOGRAPHY A. EDWIN ARLINGTON ROBINSON 1 . Poems j iM e r l i n . New Y o rk , 1917. I I L a n c e l o t . New Y o rk , 1 9 2 0 . T r i s t r a m . New Y ork, 1 9 2 7 . M odred, A F r a g m e n t . New Y o rk , 1 9 2 9 . C o l l e c t e d Poem s. New Y o rk , 1 9 3 7 . 2 . L e t t e r s S e l e c t e d L e t t e r s o f E d w in A r l i n g t o n R .o b in so n , comp, * R i d g e l y T o r r e n c e . New' Y o r k , ’ 19^10. U n t r i a n g u l a t e d S t a r s i « . . , e d , Denham S u t c l i f f e . C a m b rid g e , M a s s ., 1 9 4 7 . B, SECONDARY SOURCES 1 . 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C o n n e r, W i l l i a m F r e d e r i c k , Cosm ic O p tim ism : A S tu d y o f th e I n t e . r p r e t a t i o n of, E v o l u t i o n by A m e ric a n Poets" fro m E m erso n t o R o b i n s o n . G a i n e s v i l l e , F l o r i d a , 1 949, i F r o s t , R o b e r t . I n t r e d u c t i o n , K in g J a s p e r , by E dw in | A r l i n g t o n R o b in s o n . New Y o rk , 1935, I I F u s s e l l , Edw in S , Edw in A r l i n g t o n R o b i n s o n , t h e L i t e r a r y ! B a c k g ro u n d o f a T r a d i t i o n a l ' P o e t , B e r k e l e y , C a l i f , , 1 1 9 5 4 . G re e n , R oger L a n c e l y n . K in g A r t h u r a n d H is K n i g h t s o f t h e ; Round T a b l e . H arm ondsw ort'h,’ Middle's'e'x',' i 9 5 3 . 1 J , i G r e g o r y , H o r a c e , and M arya Z a t u r e n s k a . "La Comedia ! Humaine o f E . A. R o b i n s o n ," A H i s t o r y o f A m e ric a n P o e t r y 1 9 0 0 - 1 9 4 0 . New Y o rk , 1 9 4 6 .1 H a g e d o rn , H erm ann. E d w in A r l i n g t o n R o b in s o n ; A B i o g r a p h y . New Y ork, 1 9 3 8 . H e in e y , D o n a ld . R e c e n t A m e ric a n L i t e r a t u r e , G r e a t N eck, New Y o rk , 195FI (H ogan, C h a r l e s B e e c h e r . A B i b l i o g r a p h y o f t h e W r i t i n g s o f | E d w in A r l i n g t o n R o b i n s o n . ' ifew H a v e n , l'9 3 6 ,r ' i ’K a p la n , E s t e l l e . P h i l o s o p h y i n t h e P o e t r y o f Edw in | A r l i n g t o n R o b in so n ',' New' t Yor'k,' 'lWo*. ............ (K reym borg, A l f r e d . "The W ise M u sic o f R o b i n s o n , " | A H i s t o r y o f A m e ric a n P o e t r y ; O ur S i n g i n g S t r e n g t h . New Y o rk , 1 934. L i p p i n c o t t , L i l l i a n , A B i b l i o g r a p h y o f t h e W r i t i n g s and C r i t i c i s m s o f Edw in A r l i n g t o n R o b in s o n , ’ Bo's'ton, 1937. L o w e l l, Amy. T e n d e n c i e s i n M odern A m e ric a n P o e t r y . New Y o rk , 1917. i !M a lo ry , S i r T hom as, comp. The A r t h u r i a n T a l e s , L o n d o n , j 1907. ” 1 1 ' i ____________________ . Le M orte d 1A r t h u r . L o n d o n , 1908. 125 M o r r i s , L l o y d , The P o e t r y o f E dw in A r l i n g t o n R o b i n s o n , New Y ork, 1 9 2 3 , N e f f , E m ery. Edw in A r lin g to n . R o b i n s o n , New Y o rk , 1 9 4 8 , Redm an, Ben R a y , E dw in A r l i n g t o n R o b in s o n , New Y o rk , 1 926, ■ R ic h a r d s , M rs. L a u r a E l i z a b e t h , E , A. R. C a m b rid g e , M a s s ., 1 936, .T e n n y s o n , A l f r e d , I d y l l s o f t h e K in g , e d , H enry Van D yke, New Y o rk , 1904. I jU n te r m y e r , L o u i s . A m e ric a n P o e t r y S in c e 1900* New Y o rk , j 1923. ! I Van D o re n , M ark. E dw in A r l i n g t o n R o b i n s o n , New Y o rk , 1 9 2 7 . W e i r i c k , B r u c e . Prom W hitm an t o S a n d b u rg ; A C r i t i c a l S t u d y . New Y o rk , 1 9 2 4 . W i n t e r s , Y v o r. Edw in A r l i n g t o n R o b i n s o n , N o r f o l k , C o n n ,, 1.946* 2 . A r t i c l e s 1 A ik e n , C o n ra d . ’’T r i s t r a m , ” New R e p u b l i c , 5 1 : 2 2 , May 2 5 , 1 1927, C a r p e n t e r , F r e d e r i c I , ’’T r i s t r a m t h e T r a n s c e n d e n t , ” i New E n g la n d Q u a r t e r l y , 1 1 :5 0 1 - 5 2 3 , S e p te m b e r 1938* iC ro u c h , F . M. ”E . A, R o b in s o n Revamps an O ld L e g e n d , ” | C hurchm an, 1 3 6 : 2 0 - 2 1 , A u g u st 2 0 , 1 9 2 7 , C ro w d e r, R i c h a r d . ”E , A. R o b i n s o n ’s C a m e l o t , ” C o l l e g e E n g l i s h , 9 : 7 2 - 7 9 , November 1 947, . ”E . A. R o b i n s o n ’ s C r a f t s m a n s h i p , ” i M odern L anguage N o t e s , 6 1 : 1 - 1 4 , J a n u a r y 1946, __________ . ’’’H ere A re t h e Men’ ; E . A* R o b i n s o n ’s 1 M ale C h a r a c t e r T y p e s , ” New E n g la n d Q u a r t e r l y , | 5 8 : 3 4 6 - 3 4 7 , S e p te m b e r 1 945. D a u n e r , L o u i s e . ’'The P e r n i c i o u s R ib : E , A. R o b i n s o n , s C o n c e p t o f F e m in in e C h a r a c t e r , 1 ’ A m e ric a n L i t e r a t u r e # 1 5 :1 3 9 - 1 5 8 , May 1 9 4 3 . __________ • . ’’Vox C l a m a n t i s : E dw in A r l i n g t o n R o b in s o n a s a C r i t i c o f A m e ric a n D e m o c ra c y ," New E n g la n d Q u a r t e r l y , 1 5 :4 0 1 - 4 2 6 , S e p te m b e r 1 9 4 2 , D eu tsc h * B a b e tte * "A New L i g h t on C a m e l o t , " P o e tr y * 1 6 :2 1 7 - 2 1 9 , J u l y 1 9 2 0 . E v a n s , N ancy. " R e c o rd o f a n I n t e r v i e w , " Bookman, 7 5 : 6 7 5 - 6 8 1 , November 1 932. .Gorman* H e r b e r t S h erm a n . " L a n c e l o t , " New R e p u b lic * 2 3 :2 5 9 - 2 6 0 , J u l y 2 5 , 1 9 2 0 . ;G r e g o r y , H o r a c e , and M arya Z a t u r e n s k a . "The V e in o f I Comedy i n E , A. R o b i n s o n ’ s P o e t r y , " A m e ric a n Bookman* | 1 : 4 3 - 6 4 , F a l l 1944, jL edoux, L o u is V. " P s y c h o l o g i s t o f New E n g l a n d , " S a t u r d a y I R eview o f L i t e r a t u r e * 1 2 : 3 - 4 , 1 6 , 1 8 , D ecem ber 1935. IM acL eish, A r c h i b a l d , "The P o e t and t h e P r e s s , " A t l a n t i c , j 1 0 3 : 4 0 - 4 6 , M arch 1 9 5 9 . ;M [ o n r o e l, H [ a r r i e t l * "M r. R o b in s o n i n C am elo t , " P o e try * ! 1 0 :2 1 1 - 2 1 3 , J u l y 1 9 1 7 . ■ "On F o r e i g n G r o u n d ," P o e t r y 3 1 : 1 6 0 - 1 6 7 , Decem ber 1927, i M o r r i s , L l o y d . "The R a re G e n iu s o f E dw in A r l i n g t o n j R o b i n s o n ," W orld R e v ie w * 5 : 1 8 2 - 1 8 3 , D ecem ber 12, 1 9 2 8 . ' P e r r i n e , L a u r e n c e . " R o b i n s o n ’s T r i s t r a m , I X - X ," | E x p l i c a t o r , 6 : 4 4 , May 1 948, !Reed, Edw ard B l i s s . " P o e t r y o f T h r e e N a t i o n s , " Y a le R e v ie w * 6 : 8 6 3 - 8 6 4 , J u l y 1 9 1 7 . S h e p a r d , O d e l l . " V e r s i f i e d H enry J a m e s : M e r l i n , ” D ia l* 6 3 :3 3 9 - 3 4 1 , O c t o b e r 1 1 , 1 917. I i S t o v a l l , F lo y d . "The O p tim ism b e h in d R o b i n s o n ’s T r a g e d i e s , " A m e ric a n L i t e r a t u r e * 1 0 : 1 - 2 3 , M arch 1 9 3 8 . Van D o re n , C a r l . " T ra g e d y i n C a m e l o t ," N a tio n * 1 1 0 :6 2 2 - 6 2 3 , May 8 , 1 9 2 0 . Van D o r e n , M ark. " T r i s t r a m , " F o ru m , 7 8 : 3 1 2 - 3 1 3 , A u g u st 1927. W a lk e r , H e l e n . "The Wisdom o f M e r l i n , " Forum , 6 7 : 1 7 9 - 1 8 1 , F e b r u a r y 1 922, W a l t o n , E d a L o u , " R o b i n s o n ’ s Women," N a t i o n , 1 3 7 :4 1 5 , O c to b e r 1 1 , 1933. W e a v e r, Raymond M. "Some C u r r e n t s and B a c k w a te rs o f I C o n te m p o ra ry P o e t r y : L a n c e l o t , " Bookman, 5 1 : 4 5 7 - 4 5 8 , i J u n e 1 9 2 0 . W i l k i n s o n , M a r g u e r i t e . "A B i o g r a p h e r o f S o u l s , " Woman’ s P r e s s , 2 1 : 3 2 9 - 3 3 1 , May 1927* W i n t e r s , Y v o r. "A C o o l M a s t e r , " P o e t r y , 1 9 :2 7 8 - 2 8 8 , F e b r u a r y 1 922. i [Young, S t a r k . " M e r l i n , " New R e p u b l i c , 1 2 :2 5 0 - 2 5 1 , , S e p te m b e r 2 9 , 1 9 1 7 . 3 . U n p u b lis h e d M a t e r i a l s [ H a r r i s , D e n n i s . " F i g u r a t i v e L a n g u ag e i n t h e P o e t r y o f E dw in A r l i n g t o n R o b i n s o n ," U n p u b lis h e d m a s t e r ’s | t h e s i s . U n i v e r s i t y o f S o u t h e r n C a l i f o r n i a , 1 9 5 4 , L o c k e , D onna. " S i g n i f i c a n t T r e a t m e n t s o f L a n c e l o t and G u in e v e r e i n M odern E n g l i s h a n d A m e ric a n L i t e r a t u r e , " U n p u b lis h e d m a s t e r ’s t h e s i s . U n i v e r s i t y o f S o u t h e r n I C a l i f o r n i a , 1933. i ■Newcomer, V e ra I . "The Theme o f T r i s t r a m i n E n g l i s h L i t e r a t u r e , " U n p u b l i s h e d m a s t e r ’ s t h e s i s * : U n i v e r s i t y o f S o u t h e r n C a l i f o r n i a , 1928* UNIVERSITY OF SOUTHERN CALIFORNIA LIBRARY

Asset Metadata

Creator Wood, Robert Arthur (author)

Core Title The torch of woman: A study of the women in Edwin Arlington Robinson's Arthurian poems

Contributor Digitized by ProQuest (provenance)

Degree Master of Arts

Degree Program English

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag literature, English,OAI-PMH Harvest

Language English

Advisor McElderry, Bruce R., Jr. (committee chair), Arnold, Aerol (committee member), Templeman, William D. (committee member)

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c20-432609

Unique identifier UC11264041

Identifier EP44555.pdf (filename),usctheses-c20-432609 (legacy record id)

Legacy Identifier EP44555.pdf

Dmrecord 432609

Document Type Thesis

Rights Wood, Robert Arthur

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the au...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus, Los Angeles, California 90089, USA