AN ARTHURIANA / CAMELOT PROJECT BIBLIOGRAPHY

• Introduction
• Format
• Abbreviations
  
• Listings
  
  • 1868-1900
  • 1901-1925
  • 1926-1950
  • 1951-1975
  • 1976-2000
  • 2001-2002
  
  
• Conclusions
• Appendix
• Acknowledgements
• Notes

I cannot claim to know what has happened in modern Scandinavia or Italy, but when I consulted the Encyclopedia in 1996 I quickly realized that it was not totally right not to include modern Arthurian Spanish literature. I knew it because in 1994 I had published an article in which I studied a long verse legend, Los encantos de Merlín (Merlin's charms) (1868), written by the popular romantic Spanish poet José Zorrilla, who was inspired by one of Tennyson's Idylls, "Merlin and Vivien." From that moment onwards, I started compiling my own list, corpus or canon of modern Spanish Arthurian literature. And this interest of mine, much rewarded with fruitful findings, finally resulted in a doctoral thesis which I finished in the year 2001: Alfred Tennyson y la literatura artúrica española de los siglos XIX y XX: traducción, manipulación e intertextualidad (Alfred Tennyson and Modern Arthurian Spanish Literature: Translation, Manipulation and Intertextuality). The non-existence of a modern Spanish tradition never made sense to me, but I can now affirm that, although much unnoticed, it does exist and that it is well-provided with a good number of excellent writers and outstanding works, written in all the languages of Spain. The aforementioned poem of 1868 by José Zorrilla opened a gate closed in Spain since the publication of the Second Part of Don Quixote in 1616 and its fierce attacks on all Arthurian and chivalric romance. But, once that romantic poet reopened it, with the help of Tennyson, the stream of Arthurian inspiration, although almost always minoritarian, has never ceased.

To tell the whole truth, I must state that Spanish-speaking readerships of Arthurian literary works usually enjoy Arthurian legend and myth by means of translations, rather than original creative output in Spanish or other Hispanic languages. The number of translations available is just amazing. I have also begun compiling a corpus of Spanish Arthurian translated literature, but it is so abundant that I have still not been able to finish it at all.

Nevertheless, I will mention now two very representative examples: "translated Arthurian poems by Tennyson," and "some very recent English Arthurian fiction series in translation."

- As I said before, the 1868 verse legend by Zorrilla, very freely translated from or closely inspired in one of Tennyson's Idylls, was responsible for the comeback of the matter of Brittany to Spain. In addition, although they are very difficult to translate, Tennyson's Arthurian poems have also been translated some other times since then.

- It is also very surprising to realize the popularity of English modern Arthurian fiction series among Spanish-speaking readers. It is a fact that those books are translated and published in Spain almost immediately after they have been published in the United Kingdom or the United States of America, sometimes even the same very year (Rosalind Miles).

Erec y Enide, a story about contemporary love and solitude with the help of very old characters, was included in the top ten shortlist of bestselling books published by a prestigious Spanish literary supplement (ABC Cultural) for ten weeks:

                DATE                                      RANKING

Erec y Enide	13-4-2002	10
Erec y Enide	20-4-2002	5
Erec y Enide	27-4-2002	8
Erec y Enide	4-5-2002	6
Erec y Enide	11-5-2002	10
Erec y Enide	18-5-2002	6
Erec y Enide	25-5-2002	9

Arthurian subject matters continually prove to be very appealing to both Spanish readers and writers. The writer himself, Vázquez Montalbán, famous for his detective stories and travel books, declared that he had been planning to write this novel of his for almost forty years, since those times of his youth when he studied Medieval Literature under Professor Martín de Riquer in Barcelona, but had never been able to finish it until then.

FORMAT

I have listed and annotated my 125 entries by year, from 1868 to 2002, and alphabetically by writer. All entries appear under the year when they were published for the first time, which may or may not be the year corresponding to the edition I have used. Most entries correspond to original writers of Spanish Arthurian literature in the four main languages of Spain, but there are two exceptions. The listing includes translations from the English Arthurian poems by Tennyson and the German opera librettos by Richard Wagner due to the key role played by these two nineteenth century Arthurian masters in the origin and development of modern Spanish Arthurian literature.

Every entry is also provided with three abbreviated codes related to: 1) the language in which the work is written; 2) the genre into which it must be classified; and 3) the main or secondary position or relevance it occupies within a comprehensive corpus of modern Spanish Arthurian literature. When the entry corresponds to a translation it is also mentioned. (See next section).

ABBREVIATIONS

Language

SP= Spanish
CA= Catalan
GA= Galician
BA= Basque

Genre

N= novel
SN= short novel
PL= prose legend
SS= short story
CN= children's novel
CSS= children's short story
LP= long poem
SP= short poem
PP= prose poem
L= libretto
E= essay
AB= autobiography
SC= screenplay

Corpora

MC= main corpus (the work's primary focus is Arthurian)
SC= secondary corpus (the work contains Arthurian elements, but does not focus solely on the Arthurian legend)
TCT= translated corpus (Tennyson)
TCW= translated corpus (Wagner)

Zorrilla was supposed to translate all the Idylls of the King by Tennyson, but he finally half-translated only one of them: "Merlin and Vivien." His translated poem can be defined as a long legend somewhere between a very free translation and an original work. New elements related to Spain are frequent. Bibiana (Vivien), for example, becomes a Spanish noble lady. The original phylosophical and melancholic mood disappears and Zorilla substitutes new intentions of his own. It also represents the comeback of Arthurian subject matters to the literature of Spain after a very long absence.

Outstanding verse translation of the idyll "Elaine." The unique and most difficult formal characteristics of Tennyson's style are surprisingly well translated into Spanish.

Unfortunately, Gisbert only translated two idylls, "Enid" being the second one. He chose the good ladies rather than the evil ones: Vivien or Guinevere.

Tennyson was mainly known in Spain thanks to the prose translations made by Vicente de Arana, a Basque industrialist that also had a good taste in poetry. But he only chose to translate three idylls.

Arana's second prose translation of an idyll by Tennyson.

Arana's third prose translation of an idyll by Tennyson.

Ojea took part in the late XIXth century Galician Celtic revival and also drew much of his inspiration from Tennyson as this legend of his proves. Although this legend is written in Spanish, Manuel Murguia, the writer of the introduction, is regarded as the Patriarch of modern letters in the Galician language.

This tragic love story, whose male lover honors the name of the unfortunate knight and female lover the name of the unfortunate Laura, Petrarch's lady.

One of the most popular novels by one of the greatest Spanish writers. Tristana is a kind of unhappy female Tristam trapped between an old husband and a young lover: the tragic triangle.

Immediately before and after the beginning of the new XXth century, all arts and avant-garde movements flourished in Barcelona, capital city of Catalonia. It was the so-called Modernismo Catalán. This beautifully illustrated prose poem combines classical (Arcadia), medieval, oriental and Arthurian motifs: Merlin and his end in the deep of a wood, for example.

A vision in a dream of the Holy Grail saves the void and tedious life of an apathetic gentleman, familiar only with material pleasures. The impact of Wagner's operas is evident. Pardo Bazán, the great Spanish woman writer, was known to be a devotee of his music and plots.

Catalan modernist poem in honor of the opera by Wagner, showing a special interest in the description of the most pure knight Lohengrin.

Catalan modernist novel closely inspired in the Pre-Raphaelite movement. Wagner is also a very marked source of inspiration. Tristam and Isolda are frequently quoted.

Long poem inspired, on the one hand, by the Italian medieval poet Dante Alighieri and his Vita Nuova, and, on the other hand, by Wagnerian and Pre-Raphaelite Arthurian motifs.

First translation of a Wagner opera libretto into Catalan. The great cult of Wagner in Barcelona promoted those years by the Associació Wagneriana (The Wagner Association), founded in 1901, and that became the meeting point for Catalan modernist artists.

Sonnet devoted not to the great deeds of the hero's adult life but instead to a minor passage of his life, i.e., his mother's failed struggle to keep him apart from knighthood. This is a typical treatment of myth inherited from the French Parnassians. Wagner also plays a leading role. Besides, the form is that of the so-called Shakespearean sonnet tradition: three quartets and one couplet, which is a very unusual one in the metrical tradition of Spain.

Religious Arthurian poem full of Wagnerian and Pre-Raphaelite influences. Parsifal complains bitterly against Nature for its blooming beauty on Holy Friday, the day our Lord Jesus Christ died. Montsalvat and the Holy Grail are also mentioned.

Second translation of a Wagner opera libretto into Catalan.

A different translation of the same Wagner opera libretto into Catalan the same year.

Catalan Modernism sonnet devoted to Merlin and Vivien and their forest, indeed the main character. Fully Pre-Raphaelite.

The writer chooses the name Tristam, a second Tristam, for the main character of his novel, which depicts another sad love story.

Catalan Modernist poem devoted to Tristam and his night thoughts and visions.

Catalan modernist poem devoted to the fatal love of Tristam and Isolda and their suffering.

Catalan Modernist sonnet inspired in the work of the Italian poet Gabriele d'Annunzio. Two Arthurian characters are mentioned: Eliana and Morgana.

Catalan Modernist sonnet in honour of Richard Wagner. One important Arthurian motif is present: The Holy Grail. The sonnet follows the Shakespearean pattern, rather than the Italian-Spanish one.

Catalan Modernist sonnet. Medieval, Wagnerian and Pre-Raphaelite atmosphere.

First of the Wagner opera librettos translated into Catalan in collaboration between Zanné and Pena. Translation norms were then in favor of translating opera librettos, something that does not happen any more nowadays.

Second Catalan translation of a Wagner opera libretto by Zanné and Pena.

Catalan Modernist poem displaying an original combination of long and short verses. Closely inspired by Wagner, it presents the agonized night suffering of Tristam when remembering his love Isolda.

El poema del bosch (The Poem of the Wood) is the most important composition by Alexander de Riquer, which consists of eighteen books or chants and thousands of verses. The poem fully reviews the wood as a literary as a literary motif from the Greek to modern writers. It is also a passionate defense of Nature against destructive civilization. The matter of Britain is present in the opening sonnet and in Books/Chants I and VII. The sonnet identifies the Holy Grail with Poetry, Love and the Renaissance of Catalonia and Catalan letters and culture in general.

Chant I is full of Arthurian motifs and characters, closely associated with the Celtic wood: Merlin, Isolda, Tristany, Viviana, la Dama del LLach (The Lady of the Lake), Artús, Lancelot, Guinebra, Lionel, Bleciana, el Sant Graal, etc.

Arthur's sword Escalibor is made to symbolize the revival of Catalonia and the new Catalan modernist high ideals of Faith and Love. A waste land turns into a blooming countryside.

Catalan Modernist poem showing a very strong Wagnerian inspiration. The leading characters of all the three Arthurian operas by Wagner are present: Parsifal, Isolda, and Lohengrin.

The authoress, a well-known Wagner devotee, fuses two Arthurian stories: the love stories of Tristam and Isolda and of Merlin and Vivien. She also adds new very original developments of the traditional arguments. By putting the fairies on the verge of disappearing, the novel depicts a battle between decaying fantasy and plain realism. In addition, Isayo, the young protagonist and secret son of Tristam and Isolda, is made to travel to medieval Castile (Spain), and is promoted to the role of Christian champion against Moorish infidels.

Translation of this early Arthurian poem by Tennyson.

Cabanillas, namely the Poet of the Galician race or people, made use of two main sources to write his epic poetic trilogy, A noite estrelecida (Starry Night): the Arthurian matter (Tennyson) and Celtic Ossianism, and fully identifies them Galicia, a Celtic nation as well. The first part of the trilogy centres around the finding of the sword Escalibor in the isle of Sálvora (Galicia).

The second part of the trilogy centres around the search for the Holy Grail by Arthur and his knights. Galahad finds it in the Mount Cebreiro (Galicia).

The third part of the trilogy sees the end of Arthur and his departure towards his resting place in Galicia.

First short text by Jarnés dealing with the love story of Merlin and Vivien, a story he read in Arana's prose translation of this idyll by Tennyson, an idyll that captivated his spirit for many years.

Novel in which the characters are actors and actresses that are about to stage a play dealing with the story of Merlin and Vivien (a play with a novel). During the rehearsal process, they fully identify themselves with the Arthurian characters they represent.

Second or final version of the novel by Jarnés on Merlin and Vivien. There was a shorter version published in 1930. The order of the names in the title, where Viviana is placed before Merlin, was devised totally on purpose. The writer turns the myth and traditional plot totally upside-down. Viviana is seen as a character representing all positive values of life: energy, initiative, sensuality, true love, etc. Merlin, on the contrary, symbolizes decadence and uselessness. In the end, Viviana beats Merlin completely and takes him to Spain in search of happiness and a new beginning.

Viviana is always first. This essay is a critique of a movie based on A Midsummer Night's Dream by Shakespeare. This world of fairies and merry fantasies takes the writer immediately back to the world of Vivien and Merlin.

Movie version of the Wagner opera. The whole screenplay is structured by means of a flashback when a group of soldiers, surviving a Third World War find a book among the ruins of a monastery. It tells them the story of Parsifal.

The Galician writer Álvaro Cunqueiro was the most important modern Arthurian Spanish writer. He never stopped producing Arthurian texts both in Galician and Spanish during his whole life. Merlin was always his favorite. Here he displays all his knowledge about the magician, whom he combines with many other mythical characters.

Study of the myths associating Celtic Galicia and Ireland, with allusions to Arthurian characters such as Vivien.

After the end of Camelot and the Round Table, and the parting of Arthur, Merlin and Guinevere settle down in Miranda (Galicia) and start a peaceful new life. However, although retired, Merlin attracts a varied array of characters who come to his home looking for advice and help. Galician folk motifs, Arthurian traditions, fantasy beings, and all kinds of mythical entities get together in Miranda under the benign figure of Merlin. There is an English translation of it: Merlin and Company. Trans. Colin Smith (London: Everyman-J.M. Dent, 1996).

New translation of the Wagner opera libretto into Catalan.

New translation of the Wagner opera libretto into Catalan.

A translation of the last of the three Wagner Arthurian operas into Catalan.

Cunqueiro provided the reedition of this Arthurian medieval classic with an epilogue, in which he describes his lifetime fascination for Merlin. The magician is for him just like a close friend.

Cunqueiro first wrote this short novel on the life of Felipe de Amancia in ca1940, and then he rewrote and published it in 1956. As Felipe became Merlin's aide in Merlín e familia, this is the story of the life of this new Arthurian character before and after meeting the wise old man.

A novel set in Brittany, a land Cunqueiro had not visited yet, but had read a lot about. References to Arthur and the matter of Britain/Brittany are abundant.

Spanish enlarged version of Merlin e familia. A new original rather than a very faithful self-translation.

The author acknowledged that he got his inspiration from Mark Twain's A Connecticut Yankee in King Arthur's Court (1889). Consequently, the novel mixes medieval and contemporary times. It is more a chivalry novel than a full Arthurian text in the tradition of classical Spanish novels of chivalry such as the famous Amadís de Gaula (1508).

Article summarizing an old Castilian legend retaled to King Pedro I, and claiming that his death had been predicted by Merlin. The writer also analyses the reception of his bilingual Merlín e familia / Merlín y familia.

New generations of Galician writers have kept their interest in the Arthurian traditions. With Méndez Ferrín, Arthurian character become enigmatic, nightmarish, experimental, absurb, revolutionary and profoundly original, as this short story proves.

Cunqueiro not only wrote about the matter of Brittany, but also about Brittany, the French region, as well. From Brittany he travels to the Arthurian subject matters very easily as it is here the case.

New abridged version for children of the idylls of Tennyson translated by Vicente de Arana in the nineteenth century.

New abridged version for children of Tennyson's "Merlin and Vivien" idyll translated by Vicente de Arana.

A pilgrim who lives in a ruined castle by the seashore tells the story of his meetings with Parsifal and Isolda.

Newspaper essay reviewing the finding of Guinevere and Arthur's tomb in Glastonbury Abbey (Somerset). Cunqueiro declares himself very offended for this claim: everybody knows that Arthur did not die, but that he is waiting in Avalon for his second coming as the Once and Future King.

Saint Criduec's legendary travel is associated with the search for the Holy Grail.

Now Cunqueiro makes connections among Don Quixote, Amadis of Gaul, Galahad and other Arthurian knights.

Brittany and Galicia got much closer by means of those pilgrims who travelled to Saint James's tomb in Santiago de Compostela (Galicia).

This film got its Arthurian title from a poem written by the French surrealist poet André Breton.

The Way of Saint James towards Santiago de Compostela crosses the Mount Cebreiro, where the Holy Grail is kept. There you can see Galaz (Galahad) and Parsifal from time to time.

Classic film directed by the Spanish director Luis Buñuel, who also was co-author of the screenplay. This one was based on the novel Tristana by Pérez Galdós. Tristana here continues to be a kind of female Tristam.

Here Cunqueiro demonstrates the key roles that Arthur and Merlin still play in modern Britain. Legend and myth are more important than what current politicians guess.

Fanto, the main character in the novel, is a nephew-grandson of Lanzarote (Lancelot). Capovilla, his old domestic servant, sings the Song of Lancelot and knows all Arthurian books by heart. Isolda is also mentioned frequently.

Monumental novel by another Galician writer. In an imaginary Galician town, Castroforte del Baralla, a group of citizens decides to found a New Round Table. Many years later, another group of locals gets to know what their ancestors did, and try again to found a New Round Table and become new Arthurs, Lancelots, Galahads, Merlins, and Guineveres. Both experiences fail absolutely. The novel is a great humourous parody of human weaknesses in general, and of Galicia and its collective myths in particular. The text is also an outstanding example of experimental post-structuralist literary style.

This novel is full of Arthurian motifs. Paulos, the main character, is aided by the Lady of the Lake, travels to a decaying Camelot, where he visits Arthur and Guinevere, finds Isolda's shoe, dresses up as Lancelot, and gets the help of Kings Arthur and David, as well as Julius Caesar when battling his enemies. Avalon is also mentioned.

Matèria de Bretaña (Matter of Brittany), the book title, is also the title of its last chapter. The authoress writes about her own childhood and about the time when she started reading about Arthur and his world of knights and ladies.

Rewriting of the traditional Galician legend locating the finding of the Holy Grail in the Mount Cebreiro, next to the Way of Saint James, when it enters Galicia.

Rewriting of the traditional Galician legend that has Galahad travelling to Galicia where, on Holy Friday, he finds the Holy Grail in Mount Cebreiro.

Poem about the Kings of Brittany. Isolda is mentioned.

Translation into Spanish of this popular and early Arthurian poem by Tennyson.

A young Galician boy, named Tristam, finally finds out who Tristam was when reading about Tristam and Isolda's love story. From then on, he sets out in search of somebody named Isolda, which proves very difficult. In the end, he meets and old lady named Isolda, who has also spent her life waiting for a Tristam to find her. The love is impossible because of their age difference.

Merlin becomes a theologian and tries to convert the Jewish people with his magic.

Poem where Galahad, Guinevere and Lancelot are mentioned.

Second modern novel of chivalry by Perucho. Very close to the Arthurian world.

Sonnet about the mythical Mount Cebreiro in Galicia, where the Holy Grail is. Arthur, Galahad, Lancelot and Percival are mentioned.

A very challenging and sophisticated reinterpretation of the Arthurian tradition and the love triangle among Arthur, Guinevere and Lancelot. Méndez Ferrín breaks the triangle and, at first, he seems to turn it into a square by adding Liliana (Elaine), but the result is rather a circle where everybody shares his or her love with everybody else. Mysterious, enigmatic, symbolic, oneiric, and very, very lyrical. There is an English translation: "Arthur's Love". Them and Other Stories. Trans. John Rutherford, Xelís de Toro, Benigno Fernández (Aberystwyth, Wales: Planet, 1996).

In a symbolic world of evil, and surrounded by a nighmarish and oppressing atmosphere, only some Arthurian knights can offer some hope: King Arthur, Galván (Gawain), Lancelot, Galahad, and Percival.

Fuster was a devoted admirer of J.R.R. Tolkien and his trilogy The Lord of the Rings. He followed Tolkien's example and wrote his own trilogy. Fuster's L'Home Savi takes after Gandalf the Grey, who also takes after Merlin, all of them belonging to the same kind of archetypical creations.

The Arthurian tales by Sarrionandia are not only outstanding because they are very original reinterpretations of the Arthurian motifs, but also because they are written in the minority language of Basque. Queen Guinevere in Exile (Ginebra erregina herbestean) is the first one of this short stories. After the end of Camelot, Arthur and Guinevere exile from their homeland and settle down in a rural area in the Basque Country. Lancelot leaves them, but his son Galahad settles down next to his King and Queen. Guinevere misses Lancelot, and because of their similarity she seduces young and pure Galahad, which seems the end of the possibility of finding the Holy Grail. Arthur finds out and kills Galahad out of revenge. But hope can never be uprooted: Guinevere got pregnant and is carrying Galahad's son in her womb.

The authoress takes advantage of many traditional Arthurian motifs in order to imagine and write about a whole new set of motifs of her own: new plots and characters. Nobody believes in the ideal anymore; Arthur is just an old sceptical man; Lancelot and Perceval become fully useless for deeds of knighthood. The new star is young Pelinor, the new hero of the Round Table. Many ballads and popular traditions of Spain are also incorporated into the text.

Short poem based on a wordplay. In Basque, as in Spanish, Guinevere and Gin sound the same: Ginebra.

A group of academics centres their research in difficult anonymous medieval texts. References to the Matter of Brittany and to the Breton Lais by Marie de France are frequent.

Second part of Fuster's trilogy, inspired by Tolkien's The Lord of the Rings.

Revolutionary political fiction full of intertextual references, many of them to the matter of Britain, particularly Percival and the forest of Brocelianda.

Sonnet devoted to Queen Guinevere and her two loves: Arthur and Lancelot.

First part of a new Galician trilogy on King Arthur and his knights. González Reigosa presents himself as a passionate defender of the suitability of the Arthurian tradition for Galicia. Here we see a Lancelot tortured by doubts related to the viability of the ideas of the Round Table and the real intentions of King Arthur.

Second part of this trilogy. For Reigosa, the traditional version of the Vivien-Merlin love affair does not make sense. He cannot believe that Vivien could beat Merlin. Indeed, Merlin here manipulates Vivien in order to get peace and retire from the world.

Third part of the trilogy. Reigosa follows Malory very closely now, but emphasizes the inner feelings of his characters. In spite of their diverging destinies, Arthur, Lancelot and Guinevere continue loving each other.

Another radical and politically-inspired novel by Méndez Ferrín, who never forgets including Arthurian references in his texts, as it is here the case: chivalry novels and the Welsh Mabinogion.

Partial word-for-word translation of the idyll "The Coming of Arthur" by Tennyson.

Partial word-for-word translation of the idyll "The Passing of Arthur" by Tennyson.

Partial word-for-word translation of the idyll "Guinevere" by Tennyson.

Sonnet on the adventures of Gawain and other Arthurian knights in Galicia in search of the Holy Grail.

Galván, or Gawain, leaves Arthur's Court and travels to Saor (Galicia), where he meets Merlin, now a bus driver, and settles down for a while. The novel takes place in two different moments: the present and medieval times. And the action jumps from one to the other without interruption. We may see Gawain riding a horse now and driving a motorbike immediately after. Galician folk stories and popular traditions are widely used.

This essay describes a natural phenomenon that usually takes place in Calabria (Italy) and which has been popularly named Fata Morgana.

Second Basque short story by Sarrionandia: The Bold Lover (Amorante ausarta) deals with the love story of Merlin and Vivien, now living in the Basque Country rural core.

Sonnet mixing Galician folk traditions and myths, Arthurian motifs, and new Galician interpretations of the matter such as those by Méndez Ferrín. Don Quixote is also mentioned.

In this essay Cunqueiro claims that Tristam and Isolda love story in not Celtic in origin but Persian, and that was taken into Europe by means of the Arab invasions.

Novel of chivalry close to the Arthurian novels. Cabana has also produced many full Arthurian texts.

Third part of Fuster's trilogy, inspired by Tolkien's The Lord of the Rings.

Third short story in Basque by Sarrionandia. The Sun is Sailing in the Firmament (Eguziak ortza urdinean nabegatzen) centres around Percival and a fatal hunting of the Unicorn. The knight also falls in love with a Pre-Raphaelite-looking rural lady.

Fourth Arthurian short story in Basque by Sarrionandia. The Sword in the Crucible (Ezpata hura arragoan) presents old King Arthur in his Basque Country retirement talking to his servant Fool about the good old days forever lost. Very melancholic in mood.

A young man loves the wife of a Scottish prince. And an old wise man warns him against this love by telling him the story of Arthur, Guinevere and Lancelot. The Arthurian heroes are described not in ideal terms, but in very negative words. There is a French translatin: "Le sage conseil". Lancelot (Paris: Editions Autrement).

Fantasy novel of chivalry set in the Middle Ages. Very close to the Arthurian literature.

A 250-year-old King Arthur leaves Avalon and experiences a new series of delicious adventures typically devised for young readers. Merlin and Vivien and many other fanciful beings accompany him.

Second fantasy novel of chivalry by the same authoress. Also set in the Middle Ages and very close to the Arthurian literature.

Second translation into Spanish of The Lady of Shalott, early Arthurian poem by Tennyson.

First volume of a whole series retelling all the Arthurian cycle for small children. The coming of Arthur and the sword in the stone.

Second volume of this Arthurian cycle retelling for children. The story and powers of Merlin and his battle against two dragons.

Third volume of this Arthurian cycle retelling for children. Perceval and his search of the Holy Grail. The Fisher King.

Fourth volume of this Arthurian cycle retelling for children. Lancelot, who is in love with Guinevere, saves her from kidnappers.

Fifth volume of this Arthurian cycle retelling for children. The beautiful love story between Tristam and Isolda. The battle of Tristam against a terrible monster to save Ireland.

Sixth volume of this Arthurian cycle retelling for children. The story of Ivain and his combat against a terrible knight.

Seventh volume of this Arthurian cycle retelling for children. How Perceval left his homeland in Wales and becomes a knight like the Red Knight.

Eighth volume of this Arthurian cycle retelling for children. How Gineth, daughter of Arthur, makes a mess of the whole Court.

Third translation into Spanish of The Lady of Shalott, the popular early Arthurian poem by Tennyson.

Translation of this early Arthurian poem by Tennyson.

Translation of this early Arthurian poem by Tennyson.

Inspired in the medieval romance by Chrétien de Troyes, a set of present-day characters are made to match their medieval counterparts by Professor-Emeritus Julio Matasanz, specialist in Arthurian medieval literature. A manifesto novel in favor of feelings, communication and love.

Anselmi, Luigi (1954- )
Aranda, Vicente (1926- )
Blasco Ibáñez, Vicente (1887-1928)
Buñuel, Luis (1900-1985)
Cabana, Darío Xohán (1952- )
Cabanillas, Ramón (1876-1956)
Carré, Leandro (1888-1976)
Carvalho Calero, Ricardo
Cunqueiro, Álvaro (1911-1981)
De Riquer, Alexandre (1856-1920)
Díaz-Mas, Paloma (1954- )
Fuster, Jaume (1945-1998)
González Reigosa, Carlos (1958- )
Jarnés, Benjamín (1888-1949)
Mangrané, David (1910-1985)
Matute, Ana María (1926- )
Méndez Ferrín, Xosé Luís (1938- )
Moleón Viana, Miguel Ángel (1965- )
Montes, Graciela
Morera i Galicia, Magí
Ojea, José
Palacio Valdés, Armando (1853-1938)
Pardo Bazán, Emilia (1851-1921)
Pérez Galdós, Benito (1843-1920)
Perucho, Joan (1920- )
Sánchez-Cutillas, Carmelina (1927- )
Sarrionandia, Joseba (1958- )
Torrente Ballester, Gonzalo (1910-1990)
Vázquez Montalbán, Manuel (1939- )
Viura, Xavier (1882-1948)
Zanné, Jeroni (1873-1934)
Zorrilla, José (1817-1893)

D'Ax, Anna (1902-?)
De Arana, Vicente (1848-1890)
De Cuenca, Luis Alberto
Lleonart, Joseph
Lope, Gisbert
Maragall, Joan
Morales, María Luz
Paolantonio, Jorge
Pena, Joaquim (1873-1944)
Ribera, Antoni
Rivero, Antonio
Sainero, Ramón
Sanjurjo, Carmela Eulate
Viura, Xavier (1882-1948)
Zanné, Jeroni (1873-1934)