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The Once and Future King Mass Market Paperback – June 1, 1987
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Once upon a time, a young boy called “Wart” was tutored by a magician named Merlyn in preparation for a future he couldn’t possibly imagine. A future in which he would ally himself with the greatest knights, love a legendary queen and unite a country dedicated to chivalrous values. A future that would see him crowned and known for all time as Arthur, King of the Britons.
During Arthur’s reign, the kingdom of Camelot was founded to cast enlightenment on the Dark Ages, while the knights of the Round Table embarked on many a noble quest. But Merlyn foresaw the treachery that awaited his liege: the forbidden love between Queen Guenever and Lancelot, the wicked plots of Arthur’s half-sister Morgause and the hatred she fostered in Mordred that would bring an end to the king’s dreams for Britain—and to the king himself.
“[The Once and Future King] mingles wisdom, wonderful, laugh-out-loud humor and deep sorrow—while telling one of the great tales of the Western world.”—Guy Gavriel Kay
- Print length639 pages
- LanguageEnglish
- PublisherAce Books
- Publication dateJune 1, 1987
- Dimensions4.12 x 1.31 x 6.75 inches
- ISBN-100441627404
- ISBN-13978-0441627400
- Lexile measure1080L
From #1 New York Times bestselling author Colleen Hoover comes a novel that explores life after tragedy and the enduring spirit of love. | Learn more
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Editorial Reviews
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“Certain books offer pleasures so rich and enduring, they become part of what defines us. The Once and Future King is like that for me. It manages—by some miracle—to be about its own time, and a distant, legendary time, and about today. It mingles wisdom, wonderful, laugh-out-loud humor and deep sorrow—while telling one of the great tales of the Western world. I envy the reader coming to it for the first time.”—Guy Gavriel Kay
“White took hold of the ultimate English epic and recast it in modern literary language, sacrificing none of its grandeur or its strangeness in the process, and adding in all the humor and passion that we expect from a novel. What was once as stiff and two-dimensional as a medieval tapestry becomes rich and real and devastatingly sad.”—Lev Grossman
“Touching, profound, funny and tragic.”—Los Angeles Times
“Richly imagined and unfailingly eloquent and entertaining, its appeal is timeless and universal. If a reader reads only one Arthurian tale, let this be it.”—Booklist
“The Once and Future King is full of insights, scenes and flourishes that are really quite astonishing.”—The Guardian (U.K.)
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
ONE
On Mondays, Wednesdays and Fridays it was Court Hand and Summulae Logicales, while the rest of the week it was the Organon, Repetition and Astrology. The governess was always getting muddled with her astrolabe, and when she got specially muddled she would take it out of the Wart by rapping his knuckles. She did not rap Kay’s knuckles, because when Kay grew older he would be Sir Kay, the master of the estate. The Wart was called the Wart because it more or less rhymed with Art, which was short for his real name. Kay had given him the nickname. Kay was not called anything but Kay, as he was too dignified to have a nickname and would have flown into a passion if anybody had tried to give him one. The governess had red hair and some mysterious wound from which she derived a lot of prestige by showing it to all the women of the castle, behind closed doors. It was believed to be where she sat down, and to have been caused by sitting on some armour at a picnic by mistake. Eventually she offered to show it to Sir Ector, who was Kay’s father, had hysterics and was sent away. They found out afterwards that she had been in a lunatic hospital for three years.
In the afternoons the programme was: Mondays and Fridays, tilting and horsemanship; Tuesdays, hawking; Wednesdays, fencing; Thursdays, archery; Saturdays, the theory of chivalry, with the proper measures to be blown on all occasions, terminology of the chase and hunting etiquette. If you did the wrong thing at the mort or the undoing, for instance, you were bent over the body of the dead beast and smacked with the flat side of a sword. This was called being bladed. It was horseplay, a sort of joke like being shaved when crossing the line. Kay was not bladed, although he often went wrong.
When they had got rid of the governess, Sir Ector said, “After all, damn it all, we can’t have the boys runnin’ about all day like hooligans—after all, damn it all? Ought to be havin’ a first-rate eddication, at their age. When I was their age I was doin’ all this Latin and stuff at five o’clock every mornin’. Happiest time of me life. Pass the port.”
Sir Grummore Grummursum, who was staying the night because he had been benighted out questin’ after a specially long run, said that when he was their age he was swished every mornin’ because he would go hawkin’ instead of learnin’. He attributed to this weakness the fact that he could never get beyond the Future Simple of Utor. It was a third of the way down the left-hand leaf, he said. He thought it was leaf ninety-seven. He passed the port.
Sir Ector said, “Had a good quest today?”
Sir Grummore said, “Oh, not so bad. Rattlin’ good day, in fact. Found a chap called Sir Bruce Saunce Pité choppin’ off a maiden’s head in Weedon Bushes, ran him to Mixbury Plantation in the Bicester, where he doubled back, and lost him in Wicken Wood. Must have been a good twenty-five miles as he ran.”
“A straight-necked ’un,” said Sir Ector.
“But about these boys and all this Latin and that,” added the old gentleman. “Amo, amas, you know, and runnin’ about like hooligans: what would you advise?”
“Ah,” said Sir Grummore, laying his finger by his nose and winking at the bottle, “that takes a deal of thinkin’ about, if you don’t mind my sayin’ so.”
“Don’t mind at all,” said Sir Ector. “Very kind of you to say anythin’. Much obliged, I’m sure. Help yourself to port.”
“Good port this.”
“Get it from a friend of mine.”
“But about these boys,” said Sir Grummore. “How many of them are there, do you know?”
“Two,” said Sir Ector, “counting them both, that is.”
“Couldn’t send them to Eton, I suppose?” inquired Sir Grummore cautiously. “Long way and all that, we know.”
It was not really Eton that he mentioned, for the College of Blessed Mary was not founded until 1440, but it was a place of the same sort. Also they were drinking Metheglyn, not port, but by mentioning the modern wine it is easier to give you the feel.
“Isn’t so much the distance,” said Sir Ector, “but that giant What’s-’is-name is in the way. Have to pass through his country, you understand.”
“What is his name?”
“Can’t recollect it at the moment, not for the life of me. Fellow that lives by the Burbly Water.”
“Galapas,” said Sir Grummore.
“That’s the very chap.”
“The only other thing,” said Sir Grummore, “is to have a tutor.”
“You mean a fellow who teaches you.”
“That’s it,” said Sir Grummore. “A tutor, you know, a fellow who teaches you.”
“Have some more port,” said Sir Ector. “You need it after all this questin’.”
“Splendid day,” said Sir Grummore. “Only they never seem to kill nowadays. Run twenty-five miles and then mark to ground or lose him altogether. The worst is when you start a fresh quest.”
“We kill all our giants cubbin’,” said Sir Ector. “After that they give you a fine run, but get away.”
“Run out of scent,” said Sir Grummore, “I dare say. It’s always the same with these big giants in a big country. They run out of scent.”
“But even if you was to have a tutor,” said Sir Ector, “I don’t see how you would get him.”
“Advertise,” said Sir Grummore.
“I have advertised,” said Sir Ector. “It was cried by the Humberland Newsman and Cardoile Advertiser.”
“The only other way,” said Sir Grummore, “is to start a quest.”
“You mean a quest for a tutor,” explained Sir Ector.
“That’s it.”
“Hic, Haec, Hoc,” said Sir Ector. “Have some more of this drink, whatever it calls itself.”
“Hunc,” said Sir Grummore.
So it was decided. When Grummore Grummursum had gone home next day, Sir Ector tied a knot in his handkerchief to remember to start a quest for a tutor as soon as he had time to do so, and, as he was not sure how to set about it, he told the boys what Sir Grummore had suggested and warned them not to be hooligans meanwhile. Then they went hay-making.
It was July, and every able-bodied man and woman on the estate worked during that month in the field, under Sir Ector’s direction. In any case the boys would have been excused from being eddicated just then.
Sir Ector’s castle stood in an enormous clearing in a still more enormous forest. It had a courtyard and a moat with pike in it. The moat was crossed by a fortified stone bridge which ended half-way across it. The other half was covered by a wooden drawbridge which was wound up every night. As soon as you had crossed the drawbridge you were at the top of the village street—it had only one street—and this extended for about half a mile, with thatched houses of wattle and daub on either side of it. The street divided the clearing into two huge fields, that on the left being cultivated in hundreds of long narrow strips, while that on the right ran down to a river and was used as pasture. Half of the right-hand field was fenced off for hay.
It was July, and real July weather, such as they had in Old England. Everybody went bright brown, like Red Indians, with startling teeth and flashing eyes. The dogs moved about with their tongues hanging out, or lay panting in bits of shade, while the farm horses sweated through their coats and flicked their tails and tried to kick the horse-flies off their bellies with their great hind hoofs. In the pasture field the cows were on the gad, and could be seen galloping about with their tails in the air, which made Sir Ector angry.
Sir Ector stood on the top of a rick, whence he could see what everybody was doing, and shouted commands all over the two-hundred-acre field, and grew purple in the face. The best mowers mowed away in a line where the grass was still uncut, their scythes roaring in the strong sunlight. The women raked the dry hay together in long strips with wooden rakes, and the two boys with pitchforks followed up on either side of the strip, turning the hay inwards so that it lay well for picking up. Then the great carts followed, rumbling with their spiked wooden wheels, drawn by horses or slow white oxen. One man stood on top of the cart to receive the hay and direct operations, while one man walked on either side picking up what the boys had prepared and throwing it to him with a fork. The cart was led down the lane between two lines of hay, and was loaded in strict rotation from the front poles to the back, the man on top calling out in a stern voice where he wanted each fork to be pitched. The loaders grumbled at the boys for not having laid the hay properly and threatened to tan them when they caught them, if they got left behind.
When the wagon was loaded, it was drawn to Sir Ector’s rick and pitched to him. It came up easily because it had been loaded systematically—not like modern hay—and Sir Ector scrambled about on top, getting in the way of his assistants, who did the real work, and stamping and perspiring and scratching about with his fork and trying to make the rick grow straight and shouting that it would all fall down as soon as the west winds came.
The Wart loved hay-making, and was good at it. Kay, who was two years older, generally stood on the edge of the bundle which he was trying to pick up, with the result that he worked twice as hard as the Wart for only half the result. But he hated to be beaten at anything, and used to fight away with the wretched hay—which he loathed like poison—until he was quite sick.
The day after Sir Grummore’s visit was sweltering for the men who toiled from milking to milking and then again till sunset in their battle with the sultry element. For the hay was an element to them, like sea or air, in which they bathed and plunged themselves and which they even breathed in. The seeds and small scraps stuck in their hair, their mouths, their nostrils, and worked, tickling, inside their clothes. They did not wear many clothes, and the shadows between their sliding muscles were blue on the nut-brown skins. Those who feared thunder had felt ill that morning.
In the afternoon the storm broke. Sir Ector kept them at it till the great flashes were right overhead, and then, with the sky as dark as night, the rain came hurling against them so that they were drenched at once and could not see a hundred yards. The boys lay crouched under the wagons, wrapped in hay to keep their wet bodies warm against the now cold wind, and all joked with one another while heaven fell. Kay was shivering, though not with cold, but he joked like the others because he would not show he was afraid. At the last and greatest thunderbolt every man startled involuntarily, and each saw the other startle, until they laughed away their shame.
But that was the end of the hay-making and the beginning of play. The boys were sent home to change their clothes. The old dame who had been their nurse fetched dry jerkins out of a press, and scolded them for catching their deaths, and denounced Sir Ector for keeping on so long. Then they slipped their heads into the laundered shirts, and ran out to the refreshed and sparkling court.
“I vote we take Cully and see if we can get some rabbits in the chase,” cried the Wart.
“The rabbits will not be out in this wet,” said Kay sarcastically, delighted to have caught him over natural history.
“Oh, come on. It will soon be dry.”
“I must carry Cully, then.”
Kay insisted on carrying the goshawk and flying her, when they went hawking together. This he had a right to do, not only because he was older than the Wart but also because he was Sir Ector’s proper son. The Wart was not a proper son. He did not understand this, but it made him feel unhappy, because Kay seemed to regard it as making him inferior in some way. Also it was different not having a father and mother, and Kay had taught him that being different was wrong. Nobody talked to him about it, but he thought about it when he was alone, and was distressed. He did not like people to bring it up. Since the other boy always did bring it up when a question of precedence arose, he had got into the habit of giving in at once before it could be mentioned. Besides, he admired Kay and was a born follower. He was a hero-worshipper.
“Come on, then,” cried the Wart, and they scampered off toward the Mews, turning a few cartwheels on the way.
Product details
- Publisher : Ace Books; Reprint edition (June 1, 1987)
- Language : English
- Mass Market Paperback : 639 pages
- ISBN-10 : 0441627404
- ISBN-13 : 978-0441627400
- Lexile measure : 1080L
- Item Weight : 10.4 ounces
- Dimensions : 4.12 x 1.31 x 6.75 inches
- Best Sellers Rank: #45,956 in Books (See Top 100 in Books)
- #485 in Historical Fantasy (Books)
- #687 in Folklore (Books)
- #3,182 in Epic Fantasy (Books)
- Customer Reviews:
About the author

Terence Hanbury "Tim" White (29 May 1906 – 17 January 1964) was an English author best known for his sequence of Arthurian novels, The Once and Future King, first published together in 1958. One of his most memorable stories is the first of that series, The Sword in the Stone, published as a stand-alone book in 1938.
Bio from Wikipedia, the free encyclopedia. Photo by Burns Library, Boston College. [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons.
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Learn more how customers reviews work on AmazonCustomers say
Customers find this book to be a highly-original retelling of the Arthurian saga filled with adventure, with well-developed characters and inside looks into their thoughts. Moreover, the story takes readers through a roller coaster of emotions and features dozens of rich philosophical elements. However, the readability receives mixed feedback - while the prose is well done, some find it challenging to understand at times. Additionally, the pacing is mixed, with some saying it starts well while others find it dull, and the print size is criticized for being too small.
AI-generated from the text of customer reviews
Customers appreciate the book's story quality, describing it as a highly-original retelling of the Arthurian saga filled with adventure.
"...This is a pretty complete look at the Arthur legend. Most complete including the La Morte D'Arthur (don't make me look up the French spelling okay.)..." Read more
"...500 pp; and White has amassed an enormous trove about medieval life, legends, lore, falconry, armor, art, architecture and vocabulary...." Read more
"...Though both tales are mythological, White's story feels real and gets us deep down in the bowels of our conscience, our morality and our fears...." Read more
"The Once and Future King provides an excellent perspective into the world of Arthur, the King of England...." Read more
Customers appreciate the philosophical depth of the book, with dozens of rich and relevant points that provide fresh insights. One customer notes how it documents universal human struggles with eternal concepts, while another highlights its effectiveness in explaining the medieval mindset.
"...Merlyn, Narnia, and Middle Earth are undeniable, all are well cherished by their followers and all resulted in significant film adaptations...." Read more
"...perhaps not enough for 500 pp; and White has amassed an enormous trove about medieval life, legends, lore, falconry, armor, art, architecture and..." Read more
"...I've read it three times. Its pages are full of wisdom, humor, mysticism and hard life, an unbeatable combination...." Read more
"...This is the form in which I am most familiar with all the parts...." Read more
Customers enjoy the book's humor, finding it laugh-out-loud funny and mixed with comedy.
"...the humor is kind of an odd addition at first, it is sometimes laugh-out-loud funny. This is a pretty complete look at the Arthur legend...." Read more
"...are that the book is very well written, contains a number of remarkably wonderful sentences, though perhaps not enough for 500 pp; and White has..." Read more
"...I've read it three times. Its pages are full of wisdom, humor, mysticism and hard life, an unbeatable combination...." Read more
"Read and reread countless times. This book entertains and engages, provokes, inspires...." Read more
Customers appreciate the heartwarming story of the book, which takes readers through a roller coaster of emotions and features a complex narrative of love, with one customer noting its profound exploration of the human spirit.
"...Eventually, it provokes compassion, allowing us to become more forgiving of ourselves and others. Not a bad way to live in the world...." Read more
"...It is a complex story of love, passion, happiness, hatred, envy, lust, and friendship...." Read more
"...Beautifully written, a love story that makes the Hollywood versions a pale diversion...." Read more
"...It is a double love story-the love of Lancelot for his king and for the woman who won his heart, Guenever-the wife of the king...." Read more
Customers appreciate the character development in the book, noting that the characters are well-developed with inside looks into their thoughts, and one customer highlights the nuanced portrayal of Lancelot.
"...for White's fantastic prose style but also for his insight into all aspects of human character and the workings of society...." Read more
"...There was a lot to like about the book. The author was imaginative and, at times, the writing and characters came alive...." Read more
"...First, this is the story of King Arthur. All the characters are present: Gweniviere, Lancelot, Merlin, the Knights of the Round Table, the sword in..." Read more
"...The reader is given an inside look into each characters' thoughts, and how these compel their actions...." Read more
Customers have mixed opinions about the book's readability, with some finding the prose well done and wonderfully legible, while others report that it takes a bit to read and the writing style challenges their vocabulary.
"...I have read five or six books on the legend. I like this best. Well-written...." Read more
"...The writing style definitely challenged my vocabulary and ability to follow transitions from author speaking to characters...." Read more
"...Regardless of his intent, the work is one of the great pieces of modern English prose putting him in the rare company of T.E. Lawrence, C.S. Lewis,..." Read more
"...The book is over-long, if one can criticize a classic such as this: so much detail; and those tiresome animal stories at the beginning would turn..." Read more
Customers have mixed opinions about the pacing of the book, with some saying it started out well while others find it very dull for the most part.
"...like a children's story of the four books, and it is very, very dull for the most part--though King Pellinore and his Questing Beast are delightful...." Read more
"...This first quarter is delightful!..." Read more
"...those that told about battle preparations, were extremely long and dull and I was tempted to skip them...." Read more
"...I am not finished and will update. Even so the book does flow in reading. Download a sample and see what you think." Read more
Customers find the print size of the book too small, particularly noting that it is too small for 7-year-olds.
"...Second, this book is long. It is divided into four parts. The first two parts were more familiar (maybe) and were a little easier to read...." Read more
"...The book is over-long, if one can criticize a classic such as this: so much detail; and those tiresome animal stories at the beginning would turn..." Read more
"...It is a "pocket" sized book with tiny print...." Read more
"...The type is small and blurry. I will probably keep it for myself? I may return it...." Read more
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- Reviewed in the United States on January 9, 2017Why do I think that the bad reviews come mostly from school kids who don't want to tackle this book?
While the humor is kind of an odd addition at first, it is sometimes laugh-out-loud funny. This is a pretty complete look at the Arthur legend. Most complete including the La Morte D'Arthur (don't make me look up the French spelling okay.) I have read five or six books on the legend. I like this best. Well-written. If you don't want to tackle something that is not the Hobbit or Lord of the Rings (read them too and love them)--don't. This author made no attempt to copy them so I am a little unsure why people thought this book would be similar. White took his time and added some humor to a legend that is based on the lopping off of heads and cleaving skulls without much let up. Character development was not present in most of the legend-based books I have read on this subject.
Assigned this in school? If you would rather be reading Conan the Barbarian (yes, I read them too) nothing anyone can say will make this Conan or a superhero. Classics are sometimes a little tedious to modern readers. Then again, there aren't that many classics being written anymore.
Wait until you have to report on War and Peace, a wonderful book by the way, but again, a tad tedious at times.
You know, building tension in a story is really an art. Tolkien did it in his visit to the Elves. Not much happened there, but on the outside of that Idyllic paradise, lurked a real danger we couldn't ignore. The book had to move forward from that place. That said, men and women, real or imagined, go through hell for lovers or greed or honor.
- Reviewed in the United States on March 12, 2014The popularity of the film and the play, Camelot, were due in some part its association with President John F. Kennedy’s brief 1,000 days in office which came to be called Camelot by many, a time in American history of lost hope and ideals. It was also a story the late president was very fond of. Of course it had much more to do with the enduring fascination with the legends of King Arthur which had found new form in the very popular retelling of the tale by T.H. White, The Once and Future King, which proved to be the immediate inspiration for the play and film, as well as a Walt Disney animated feature, The Sword in the Stone (1963). White was born in British India, died in Greece and spent his most creative period in self-imposed exile from his native Britain in Ireland to somehow get away from a world on the verge of war which he so despised. His condemnation of war took form in his interpretation of tales found in the work he most admired Sir Thomas Mallory’s Le Morte d’Arthur (1485), and of course Mallory himself appears at the end of White’s work as well as the play and film as young Tom of Warwick who Arthur orders to avoid the coming battle and go back to England and live to tell the tales of Camelot and the Round Table. White’s work initially took the form of several books: The Sword in the Stone, The Queen of Air and Darkness, The Ill-Made Knight, The Candle in the Wind, and later The Book of Merlyn, the first four of which were incorporated into The Once and Future King in 1939 and 1940. He clearly intended for the entire work to be reedited and include The Book of Merlyn as a final chapter but it never quite happened and the latter work remained unpublished until 1977. It is this last work that was most pointed in its denials and incriminations of war and the limits of humanity, man is joined in the practice of organized warfare against its own kind only by the lowly ant. Regardless of his intent, the work is one of the great pieces of modern English prose putting him in the rare company of T.E. Lawrence, C.S. Lewis, and J.R.R. Tolkien. The language is so rich much of it found its way into the play and the film as did a good deal of his wit and humor.
There is a certain irony in the fact that perhaps the three most influential authors of modern fantasy lived about the same time an in the same area. Indeed, two of them were colleagues and friends, T.H. White died in 1964, and C.S. Lewis passed in 1963 to be followed by J.R.R. Tolkien in 1973. And all called England home. The impact of the tales of Arthur and Merlyn, Narnia, and Middle Earth are undeniable, all are well cherished by their followers and all resulted in significant film adaptations. Indeed, thanks to Peter Jackson in far off New Zealand no less than six epic films have been created to relate the tales of Middle Earth. Lewis and Tolkien lectured at Oxford University and regularly met in local pubs with pipes in hand. White was more of a solitary and quite troubled individual whose personal grappling with the immorality of war caused him to find some kind of refuge in neutral Ireland. All three were products of their time the turbulent first half of the twentieth century and the two World Wars. And all three proved masters of their craft. Aside from the common thread of fantasy in general, all three were singularly affected by the legends of Arthur and Camelot, principally from Mallory who is not only referred to constantly in White but actually takes the stage as a very important character to end The Once and Future King, young Tom of Warwick.
- Reviewed in the United States on April 20, 2015I got this because recent publicity for H is for Hawk kept referring to T H White's book on hawking. So I realized I had never read his classic The Once and Future King though I have read most of the classics and have run into the title many times. It turns out to be very strange book. I wonder how many people have actually read it lately. Strange should mean original, and it is, which is good, but it's strange in other not good ways. It begins as a kind of boys's book, with adventures, knights, animals, and a kind of bildungsroman about King Arthur's boyhood and education. No present day boy would be interested in it though. Too strange and unfocussed. King was written well into the 20th century though, the age of psychological realism, so it soon becomes a psychological novel about the Arthurian characters. (Tolkien showed that this could be easily avoided.) White is an uneven psychologist at best though, and while the idea of psychoanalysing mythological characters is interesting, this turns out to be beyond his talents. Not that anyone else could manage it either, except Homer. There are along the way tongue in cheek or comedic takes on Arthurian legends, some successful..Then it becomes a kind of philosophical treatise on ethics, the development of laws and constitutions, and politics, including even Nazism. Even those few readers who are interested in these topics would find nothing new, interesting or carefully thought out about White's ideas on these subjects, or even logical consistency. His strengths are that the book is very well written, contains a number of remarkably wonderful sentences, though perhaps not enough for 500 pp; and White has amassed an enormous trove about medieval life, legends, lore, falconry, armor, art, architecture and vocabulary. based but not limited to Malory's Morte d'Arthur, a true masterpiece. (Read it first.) The weakness besides the above is sadism. White according to what I read was a confessed sadist, and he shows himself sadistic to his characters and to his reader. for example, when a story has a tragic or bad ending, a reader will accept this if it seems inevitable, if the character has tragic flaws which lead to it. or even if the sad ending is seen somehow as an example of life's unpredictable cruelty. In this case, the downfall is encompassed by characters acting out of character. Arthur and Guinevere, who have been astute politicians throughout, canny psychologists, active and strong willed, and who hold all the political and armed power, allow themselves to be implausibly overcome by the villain, even though they and everyone else, including the tormented reader, see multiple possible ways to avoid this fate. To reader who is not masochistic will find this infuriating, in fact distasteful.. Oddly enough the villain IS defeated and the ending does not have to be seen as tragic at all. And yet White rubs out nose in a manufactured sad conclusion. It's a big book requiring a big review. A curdled classic.
Top reviews from other countries
- KezReviewed in the United Kingdom on June 27, 2021
5.0 out of 5 stars A classic tale of King Arthur
The once and Future King, published in 1958, is a rework of four previously published books by White, The Sword in the Stone (1938), The Witch in the Wood (1939), The Ill-Made Knight (1940) and The Candle in the Wind (1958). He uses these titles for the four sections of The Once and Future King. After White’s death a final book called The Book of Merlyn, written 1941, was published. Some parts of this had been incorporated into previous books by White, mainly The Sword in the Stone. This final book has since been added to end of this volume.
The first part, The Sword in the Stone, is probably the most famous due to it being made into a movie by Disney studios. Also it isn’t too far removed from that movie. It covers Arthur’s early years, in which he is known as The Wart and is under the tutelage of Merlyn. Just like the movie Wart is turned into a fish and a bird amongst other creatures by Merlyn and just like the movie there is a lot of slapstick comedy. White even manages to squeeze Robin Hood and his Merry men into his version of the Arthurian legend! On the whole this first part is a delightful if somewhat juvenile read. I enjoyed it despite the liberties taken with the legend I knew and grew up with. I liked the way White portrays the world that Wart grows up in as idyllic, beautiful summers of sun and blue skies and winters of deep crisp even snow. It’s a stark contrast to what will come later. Wart even asks Merlyn ‘Why do people not think, when they are grown up, as I do when I am young?’
At the start of the second part, The Witch in the Wood, the change is apparent as we see Wart now as a young inexperienced King Arthur trying to grapple with the realities of the grown up world, including wars. There are some interesting points made here on that subject, especially when you consider when the book was published, 1939, the outbreak of World War II. The humour however is still there as it descends into pantomime farce at times, but the story has darker periods. Episodes involving cats and unicorns are particularly gruesome.
It is here and in particular the introduction of Lancelot that the stories from Le Morte D’Arthur also become clearer, although White still tweaks them and he quotes Malory a few times during his retelling. I also loved the way he compares situations in Arthur’s world with contemporary times, or as it was in his case, 1930’s and 40’s. It does give the book a bit of a dated feel but in a charming way.
By the third part of the book the humour as all but disappeared. This part deals with Lancelot, and White portrays him in an understanding and sympathetic way, especially concerning his relationship with Guenever. I think the complex character of Lancelot is T.H. White’s greatest achievement in The Once and Future King. This version of him is totally different from the Malory Lancelot. The Ill Made Knight is my favourite part in this book and Lancelot my favourite character.
The Candle in the Wind is the final part of The Once and Future King. This last part deals with the final days of Arthur. It’s the saddest part of the story. In it White contemplates Arthur’s New England and his achievements. As he does all through the book he again compares it with the contemporary world (i.e. the world of the 1930,s and 40’s). By the time this final book was published in 1958, White had lived through a World War, this is apparent in Arthur’s final assessment of his achievements and his dream of Camelot.
Endings are always a bone of contention. They never please everyone and it’s probably the area where people are most critical. It all depends whether the story ended the way you wanted it to. The ending of The Once and Future King is no different. It also has the added burden of living up to Malory’s Arthur as well as the version of Arthur we all have in our heads. The ending of White’s book is different to Malory but still holds some of its principles. I liked it. There is a passage with a page boy at the end, which I will not reveal as it would be a major spoiler, that I particularly loved, it was a nice touch.
This edition of The Once and Future King doesn’t end there though. Included here is The Book of Merlyn, a book as I have mentioned, that was published after White’s death and includes passages already included in The Once and Future King.
White's intentions were to find an antidote for war, something he felt was a major theme in Malory's Le Morte d'Arthur. He had wrestled with this idea all through the Second World War. In fact he had retreated to Ireland to avoid it, not wanting to be a coward or a hero. ‘It is generally the trustful and optimistic people who can afford to retreat. The loveless and faithless ones are compelled by their pessimism to attack.’ The book was rejected when he sent it for publication in 1941 because it was anti war, it was later published in 1977.
The Book of Merlin, although interesting, adds little to The Once and Future King. It is really more of an essay than a story. It is also heavy going. The condensed version of this book which was incorporated into The Sword and the Stone for me was enough on the subject. It made its point without losing the story (and the reader). The only real point of interest as far as Arthur’s story goes comes at the end when White offers an explanation of the fates of Arthur, Guenever and Lancelot. It might have been better to tack this last bit at the end of The Candle in the Wind (although without it I think the book is fine).
Despite The Book of Merlin I loved The Once and Future King. I found White’s retelling of the Arthurian legend masterful, it’s an enduring classic. His use of comedy offsets the later personal doom of Arthur and I loved his portrayal of all the major characters, especially Lancelot. In The Once and Future King T.H. White has produced a work of grandeur and charm worthy of its subject.
- douay fredericReviewed in France on September 22, 2015
5.0 out of 5 stars No your usual sword & sorcery
There should be a warning sign on this book : this is not your usual, tolkien-like, fantasy, but something much weirder, and don't get me wrong, the genuinely weird is always a good thing in my book. TH White's writing is so indiosyncratic that it is futile to describe, you just enjoy it or not. The plot follows Malory's, but the tone keeps on changing, from the tragic to the comic to the didactic. Sometimes it reads like something straight up from some Monty Python's sketch, sometimes it read like an history lesson, an history quite unlike the one you were taught in school. Highly recommended for the open-minded reader.
- JOHN A. KENNEDYReviewed in Canada on November 5, 2024
5.0 out of 5 stars Awesome
Awesome
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AntonellaReviewed in Italy on April 11, 2017
5.0 out of 5 stars Capolavoro
Ho acquistato il libro in inglese perchè purtroppo in Italia l'edizione tradotta è ormai fuori catalogo. Se devo giudicare il contenuto, quest'opera è un capolavoro del ciclo bretone (re Artù, Merlino, Tavola Rotonda, Lancillotto e Ginevra, Morgana, etc...) perchè oltre alla materia solenne contiene anche l'impronta meravigliosa e poliedrica di un ARTISTA di grande livello. Contiene 4 volumi: la spada nella roccia + la regina dell'aria e delle tenebre + il cavaliere malfatto + candela nel vento. L'ultimo volume ("book of Merlyn") è venduto separatamente.
- Deb MReviewed in Australia on September 27, 2024
5.0 out of 5 stars Classic Arthurian novel
After reading this decades ago, and thinking it about time to re-read this arguably greatest of all Arthurian novels, I was pleased to see it available on Amazon. Wonderfully written, when I read it the first time as a teenager, it sparked a lifelong interest in Arthurian legends. I will relish every page.