Within the pages of 'Historic Tales: The Romance of Reality: King Arthur (2)', readers are treated to an illustrious dive deep into the chivalric and Arthurian lore that has captivated audiences for centuries. The anthology strides across a landscape rich with legendary quests, gallant knights, and timeless tales of heroism, all while presenting a diverse array of literary stylesfrom the stately and archaic prose of Sir Thomas Malory to the refined and engaging narratives of Charles Morris. This collection not only celebrates the enduring legend of King Arthur but also showcases the evolution of Arthurian storytelling, from medieval romance to modern reimagining. The works within are significant for their contribution to the mythos and their enduring influence on the literary canon and popular culture, casting a spell of enchantment that continues to enthral readers. The contributing figures, Sir Thomas Malory and Charles Morris, bring to the table vastly different backgrounds, spanning from the late medieval period to the dawn of the 20th century. Malory, a figure shrouded in mystery and intrigue, is credited with compiling the Arthurian legends in a form that would captivate the English-speaking world for generations. Morris, on the other hand, offers a perspective that is both accessible and infused with a modern sensibility, tying the past with the present. Together, their contributions encapsulate a broad spectrum of historical, cultural, and literary movements, from the chivalric ideals of the Middle Ages to the resurgence of interest in Arthurian legends during the Victorian era and beyond. The anthology thus serves as a bridge between ages, offering a comprehensive understanding of the theme's evolution and its undying appeal. For enthusiasts of historical and mythological literature, 'Historic Tales: The Romance of Reality: King Arthur (2)' provides an unmatched opportunity to explore the depths of Arthurian legend through the lenses of both a medieval compiler and a modern storyteller. This collection is a testimonial to the power of narrative in shaping our understanding of heroism, honor, and the quest for an ideal society. Its educational value is immense, not only in terms of historical knowledge but also in appreciating the literary craftsmanship that has kept the legend of King Arthur alive across centuries. Readers are encouraged to delve into this anthology to celebrate the rich tapestry of stories that constitute our literary and cultural heritage, fostering a dialogue that spans time and space.

The year 1000 A.D. was one of strange history. Its advent threw the people of Europe into a state of mortal terror. Ten centuries had passed since the birth of Christ. The world was about to come to an end. Such was the general belief. How it was to reach its end,—whether by fire, water, or some other agent of ruin,—the prophets of disaster did not say, nor did people trouble themselves to learn. Destruction was coming upon them, that was enough to know; how to provide against it was the one thing to be considered. Some hastened to the churches; others to the taverns. Here prayers went up; there wine went down. The petitions of the pious were matched by the ribaldry of the profligate. Some made their wills; others wasted their wealth in revelry, eager to get all the pleasure out of life that remained for them. Many freely gave away their property, hoping, by ridding themselves of the goods of this earth, to establish a claim to the goods of Heaven, with little regard to the fate of those whom they loaded with their discarded wealth. It was an era of ignorance and superstition. Christendom went insane over an idea. When the year ended, and the world rolled on, none the worse for conflagration or deluge, green with the spring leafage and ripe with the works of man, dismay gave way to hope, mirth took the place of prayer, man regained their flown wits, and those who had so recklessly given away their wealth bethought themselves of taking legal measures for its recovery. Such was one of the events that made that year memorable. There was another of a highly different character. Instead of a world being lost, a world was found. The Old World not only remained unharmed, but a New World was added to it, a world beyond the seas, for this was the year in which the foot of the European was first set upon the shores of the trans-Atlantic continent. It is the story of this first discovery of America that we have now to tell. In the autumn of the year 1000, in a region far away from fear-haunted Europe, a scene was being enacted of a very different character from that just described. Over the waters of unknown seas a small, strange craft boldly made its way, manned by a crew of the hardiest and most vigorous men, driven by a single square sail, whose coarse woollen texture bellied deeply before the fierce ocean winds, which seemed at times as if they would drive that deckless vessel bodily beneath the waves. This crew was of men to whom fear was almost unknown, the stalwart Vikings of the North, whose oar-and sail-driven barks now set out from the coasts of Norway and Denmark to ravage the shores of southern Europe, now turned their prows boldly to the west in search of unknown lands afar. Shall we describe this craft? It was a tiny one in which to venture upon an untravelled ocean in search of an unknown continent,—a vessel shaped somewhat like a strung bow, scarcely fifty feet in length, low amidships and curving upwards to high peaks at stem and stern, both of which converged to sharp edges. It resembled an enormous canoe rather than aught else to which we can compare it. On the stem was a carved and gilt dragon, the figurehead of the ship, which glittered in the bright rays of the sun. Along the bulwarks of the ship, fore and aft, hung rows of large painted wooden shields, which gave an Argus-eyed aspect to the craft. Between them was a double row of thole-pins for the great oars, which now lay at rest in the bottom of the boat, but by which, in calm weather, this "walker of the seas" could be forced swiftly through the yielding element.

Reproduction of the original: Historic Tales, Vol 14 by Charles Morris

Who was King Arthur? How did the story originate? Through careful research of the many primary documents, a picture of the true Arthur can in fact be set down. He reached power shortly after the Romans evacuated Britain at the end of the fifth century and died at the Battle of Camlann. He became king at 15 under the name of Ambrosius Aurelianus and fought against the Saxons on the mainland as Riothamus, thus explaining the regeneration motif so closely tied to the mythical Arthur. This study reveals that the integrity and ideals central to Arthurian myth were very much a part of the real Arthur.

FROM THE NO. 1 BESTSELLING AUTHOR OF WAR LORD COMES AN EPIC RETELLING OF THE ARTHURIAN LEGEND 'THE BEST King Arthur adaptation I've ever read' 5***** Reader Review 'An absolute winner from the master of historical fiction' 5***** Reader Review 'Outstanding. The best take on the iconic Arthur story I've read or watched' 5***** Reader Review In the Dark Ages, a legendary warrior arises to unite a divided land . . . _________ Uther, the High King of Britain, is dead. His only heir is the infant Mordred. Yet each of the country's lesser kings seek to claim the crown for themselves. While they squabble and spoil for war, a host of Saxon armies gather, preparing for invasion. But no one has counted on the fearsome warlord Arthur. Handed power by Merlin and pursuing a doomed romance with the beautiful Guinevere, Arthur knows he will struggle to unite the country - let alone hold back the Saxon enemy at the gates. Yet destiny awaits him . . . From the epic and bestselling author who has gripped millions. _________ PRAISE FOR BERNARD CORNWELL: 'Strong narrative, vigourous action and striking characterisation, Cornwell remains king of the territory he has staked out as his own' SUNDAY TIMES 'Like Game of Thrones, but real' OBSERVER 'Blood, divided loyalties and thundering battles' THE TIMES 'The best battle scenes of any writer I've ever read, past or present. Cornwell really makes history come alive' GEORGE R.R. MARTIN 'He's called a master storyteller. Really he's cleverer than that' TELEGRAPH 'A reminder of just how good a writer he is' SUNDAY TIMES 'Nobody in the world does this better than Cornwell' LEE CHILD