Critical Introduction

The 4,346 line poem known as the Alliterative Morte Arthure survives in only one copy: Lincoln Cathedral Manuscript 91, which is typically referred to as the Thornton Lincoln manuscript after its compiler, Robert Thornton. Although Thornton prepared his collection around 1440, the tale itself dates to the late fourteenth century. Given the dates of its composition and compilation—both of which fall during a period of war with France and intense socio-political upheaval for Britain— it is no surprise that the text demonstrates a specific interest in imperial matters, especially through its use of the crusading motif to recount the conflict between Arthur and Lucius, the Emperor of Rome, to whom Arthur refuses to pay tribute. Both rulers are expansionist and headstrong (their opposition, highlighted particularly through the themes of race and religion, results in continental warfare), and the poem overall offers brutally realistic and detailed descriptions of battle and its aftermath, paying particular attention to bodily injury. Amidst these descriptions, the poet scatters dangerous and monstrous beings, from bears and dragons within dream sequences to giants amassed on the battlefield. These monsters typically reflect back upon the individuals and communities with which they are associated, thus engaging in complex cultural work. Perhaps the most famous sequence of the poem is the one excerpted here: Arthur's battle against the giant of Mont-Saint-Michel. Arthur's defeat of the giant is the pinnacle expression of his martial skill, identifying him as an experienced campaigner and just Christian king. It also highlights the negative impact of war and gestures towards the problems surrounding the brute force employed as much by Arthur as the giant. Despite temporal distance, the text's concern over Eastern and non-Christian others speaks to twenty-first-century concerns.

Reading Questions

Examine how the narrator and the characters describe the physical attributes and behaviours of the giant. What qualities render him monstrous? Why? Consider also how the narrative connects the giant to his surroundings, especially the natural world, as well as how he operates as the antithesis of the kingdoms he harries. What do these relationships suggest? What can we learn about Arthur's identity and status from his battle against the giant, or from his relationships with and treatment of his own people, from the civilians to the warriors?