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Kurzbeschreibung
Based on the Winchester Manuscript, this edition of the famous mediaeval romance offers substantial critical and contextual support for the student. Using the original spelling, the editor has restored the paragraphing and the narrative structure of the romance. Four chronologies, including one of the Wars of the Roses, contemporary accounts of the war, material on chivalry, tournaments and battle, and a guide to reading Malory's English are included.
Synopsis
Based on the Winchester Manuscript, this edition of the famous mediaeval romance offers substantial critical and contextual support for the student. Using the original spelling, the editor has restored the paragraphing and the narrative structure of the romance. Four chronologies, including one of the Wars of the Roses, contemporary accounts of the war, material on chivalry, tournaments and battle, and a guide to reading Malory's English are included.
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A new definitive edition.
9. Oktober 2004
Format:Taschenbuch
The Norton Critical Edition of Sir Thomas Malory's Le Morte Darthur edited by Stephen H. A. Shepherd partly replaces Eugène Vinaver's The Works of Sir Thomas Malory and is in many ways a better effort.
This edition stands somewhere between a scholarly, critical edition and a popular edition. It is based mainly on the Winchester manucript with emendations and additions from Caxton's 14th century printed version. Abbreviations are expanded, major (but not minor) corrections of the text are noted, the obsolete characters thorn and yogh are replaced by modern letters, use of u and v, i and j follow modern usage. and word division, punctuation, and capitalization also edited to follow modern conventions, including use of quotation marks.
But otherwise spelling is not modernized, large capitals in the manuscript are indicated in the printed text by lombardic capitals of approximately the same relative size, paragraphing is mostly followed exactly (with even the // paragraph break marks being rendered by indentation followed by the symbol ¶) and further paragraphing without ¶ where other punctuation or capitalization anomalies indicate sectioning. Vinaver's edition became, eventually, notorious for ignoring the divisions given within the manuscript itself, an especially unfortunate defect since Vinaver's theories about Malory's composition supposedly depended on paying especially close attention to such matters.
In the mansucript, rubricating (that is, red lettering) was employed in scribing almost all personal names as well as on some other names and in marginal notes and is here represented by a black-letter font. One quickly becomes used to this odd convention which actually eases and clarifies reading to the point that one wonders why something like it should not be universally adopted.
And, most pleasantly for a modern book, the notes appear as true footnotes, not endnotes, which means no constant turning of pages.
The text itself is followed by over 200 pages of related source material and reprinted essays, followed by a glossary, a selected guide to proper names, and a bibliography, but, rather oddly, no index.
For any general reader willing to encounter fifteenth century spelling on its own terms and to delight in it, this is probably the best edition to own and use, one which brings the user closer to the Winchester manuscript than any previous edition.
As to the tale itself, Malory himself sometimes seems bored and unitenested in his material, especially in the massive maze of subsidiary episodes that make up his Tristram material. But at his best there is no writer in English who campares with him. Readers having difficulty with the early sections of any edition of Malory's Le Morte Darthur might try jumping to "The Tale of Sir Launcelot and Quene Gwenyvere" (Book XVIII in Caxton's edition) and start at that point, where a mature Malory in control of this story tells it better than anyone before or after.
This edition stands somewhere between a scholarly, critical edition and a popular edition. It is based mainly on the Winchester manucript with emendations and additions from Caxton's 14th century printed version. Abbreviations are expanded, major (but not minor) corrections of the text are noted, the obsolete characters thorn and yogh are replaced by modern letters, use of u and v, i and j follow modern usage. and word division, punctuation, and capitalization also edited to follow modern conventions, including use of quotation marks.
But otherwise spelling is not modernized, large capitals in the manuscript are indicated in the printed text by lombardic capitals of approximately the same relative size, paragraphing is mostly followed exactly (with even the // paragraph break marks being rendered by indentation followed by the symbol ¶) and further paragraphing without ¶ where other punctuation or capitalization anomalies indicate sectioning. Vinaver's edition became, eventually, notorious for ignoring the divisions given within the manuscript itself, an especially unfortunate defect since Vinaver's theories about Malory's composition supposedly depended on paying especially close attention to such matters.
In the mansucript, rubricating (that is, red lettering) was employed in scribing almost all personal names as well as on some other names and in marginal notes and is here represented by a black-letter font. One quickly becomes used to this odd convention which actually eases and clarifies reading to the point that one wonders why something like it should not be universally adopted.
And, most pleasantly for a modern book, the notes appear as true footnotes, not endnotes, which means no constant turning of pages.
The text itself is followed by over 200 pages of related source material and reprinted essays, followed by a glossary, a selected guide to proper names, and a bibliography, but, rather oddly, no index.
For any general reader willing to encounter fifteenth century spelling on its own terms and to delight in it, this is probably the best edition to own and use, one which brings the user closer to the Winchester manuscript than any previous edition.
As to the tale itself, Malory himself sometimes seems bored and unitenested in his material, especially in the massive maze of subsidiary episodes that make up his Tristram material. But at his best there is no writer in English who campares with him. Readers having difficulty with the early sections of any edition of Malory's Le Morte Darthur might try jumping to "The Tale of Sir Launcelot and Quene Gwenyvere" (Book XVIII in Caxton's edition) and start at that point, where a mature Malory in control of this story tells it better than anyone before or after.
4 von 4 Kunden fanden die folgende Rezension hilfreich
An ideal presentation of Malory
2. November 2011
Format:Taschenbuch
The other reviews are spot-on. A presentation of Malory that strongly evokes the experience of reading the original manuscript, but at the same time gives plenty of help for the modern reader. Introduction, explanatory notes and glossary are finely judged.
The editor, Stephen Shepherd, expresses some hesitation (p. xii) over the decision to break the text up into modern paragraphs, and not simply to reproduce the manuscript's placement of paragraph symbols in unbroken text. It's not a big issue, but I for one would have found this method attractive, the bold paragraph symbols (as I imagine) breaking up the text adequately and giving an even more distinctive feel to it.
The only thing that slightly detracts from the book for me is the typesetting of the verso pages (the left-hand pages of each opening), which goes against traditional practice. Since the text is prose, set justified left and right, the marginal annotations of the left-hand pages could easily have been placed in the outer margin, in a mirror image of the right-hand pages. As it is there is a strong, mostly empty space along the inner edge of the left page, while the text comes to within a few millimetres of the outer edge, disturbing to the eye and leaving no thumb-room. Poetry has to be set this way, of course, with its ragged right edge - and in any case the narrower columns of text are easier to keep clear of the page's edge. But if this is Norton house style for prose, I can't see why it's necessary.
The editor, Stephen Shepherd, expresses some hesitation (p. xii) over the decision to break the text up into modern paragraphs, and not simply to reproduce the manuscript's placement of paragraph symbols in unbroken text. It's not a big issue, but I for one would have found this method attractive, the bold paragraph symbols (as I imagine) breaking up the text adequately and giving an even more distinctive feel to it.
The only thing that slightly detracts from the book for me is the typesetting of the verso pages (the left-hand pages of each opening), which goes against traditional practice. Since the text is prose, set justified left and right, the marginal annotations of the left-hand pages could easily have been placed in the outer margin, in a mirror image of the right-hand pages. As it is there is a strong, mostly empty space along the inner edge of the left page, while the text comes to within a few millimetres of the outer edge, disturbing to the eye and leaving no thumb-room. Poetry has to be set this way, of course, with its ragged right edge - and in any case the narrower columns of text are easier to keep clear of the page's edge. But if this is Norton house style for prose, I can't see why it's necessary.
12 von 21 Kunden fanden die folgende Rezension hilfreich
Le Morte D'Arthur
18. Dezember 2007
Format:Taschenbuch|Von Amazon bestätigter Kauf
Very handy and well done edition of the classic Arthurian legends. This book is not for the feint at heart as it is written in old english, but once you get through that roadblock there is a power to the tales that starts to shine through.
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