There is little consistency in the legends grouped about the figure of Arthur. Not only were episodes altered at will, but the concep tions of the characters of prominent persons vary in different versions. As the taste of the times changed, one hero displaced another, and one set of romances drove others out of vogue. In the Grail romances, for example, the earlier heroes Gawain and Perceval were supplanted in times of greater insistence upon purity by the stainless, but less virile Galahad. Lancelot and Merlin were particularly popular in later days. Still further changes have been introduced in modern times. The Queene' of Spen ser, which presents Arthur as the ideal type of manhood, bears little resemblance to earlier portraits of the hero. It is well known that Milton projected an epic on the story of Arthur before turning to the composition of Lost.' The most important effort of modern times to reproduce Arthurian legend is perhaps Tennyson's of the These are based mainly on Malory, but the poet allowed himself much freedom both in episode and characterization. Swinburne, Matthew Arnold, William Morris and others have rendered sev eral of the old stories into verse. In foreign countries the Arthurian material has enjoyed considerable popularity. Especially noteworthy are Wagner's music-dramas, and (Tristan and Isolde.' See MAHINOGIQN; AVA LON ; TRISTAN.
Bibliography.— Sommer, (M orte d'Ar thur (3 vols., 1889-91) ; Comfort,