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King Arthur (Welsh: Brenin Arthur, Cornish: Arthur Gernow, Breton: Roue Arzhur, French: Roi Arthur) is a legendary king of Britain, and a central figure in the medieval literary tradition known as the Matter of Britain.

The legendary Arthur developed as a figure of international interest largely through the popularity of Geoffrey of Monmouth's fanciful and imaginative 12th-century Historia Regum Britanniae (History of the Kings of Britain).[6] Geoffrey depicted Arthur as a king of Britain who defeated the Saxons and established a vast empire. Many elements and incidents that are now an integral part of the Arthurian story appear in Geoffrey's Historia, including Arthur's father Uther Pendragon, the magician Merlin, Arthur's wife Guinevere, the sword Excalibur, Arthur's conception at Tintagel, his final battle against Mordred at Camlann, and final rest in Avalon. The 12th-century French writer Chrtien de Troyes, who added Lancelot and the Holy Grail to the story, began the genre of Arthurian romance that became a significant strand of medieval literature. In these French stories, the narrative focus often shifts from King Arthur himself to other characters, such as various Knights of the Round Table. The themes, events and characters of the Arthurian legend vary widely from text to text, and there is no one canonical version. Arthurian literature thrived during the Middle Ages but waned in the centuries that followed, until it experienced a major resurgence in the 19th century. In the 21st century, the legend continues to have prominence, not only in literature but also in adaptations for theatre, film, television, comics and other media.

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Several historical figures have been proposed as the basis for Arthur, ranging from Lucius Artorius Castus, a Roman officer who served in Britain in the 2nd or 3rd century,[28] to sub-Roman British rulers such as Riotamus,[29] Ambrosius Aurelianus,[30] and the Welsh kings Owain Ddantgwyn,[31] Enniaun Girt,[32] and Athrwys ap Meurig.[33] However, no convincing evidence for these identifications has emerged.[2][34]

The origin of the Welsh name "Arthur" remains a matter of debate. The most widely accepted etymology derives it from the Roman nomen gentile (family name) Artorius.[35] Artorius itself is of obscure and contested etymology.[36] Linguist Stephan Zimmer suggests Artorius possibly had a Celtic origin, being a Latinization of a hypothetical name *Artorjos, in turn derived from an older patronym *Arto-rg-ios, meaning "son of the bear/warrior-king". This patronym is unattested, but the root, *arto-rg, "bear/warrior-king", is the source of the Old Irish personal name Artr.[37] Some scholars have suggested it is relevant to this debate that the legendary King Arthur's name only appears as Arthur or Arturus in early Latin Arthurian texts, never as Artrius (though Classical Latin Artrius became Arturius in some Vulgar Latin dialects). However, this may not say anything about the origin of the name Arthur, as Artrius would regularly become Art(h)ur when borrowed into Welsh.[38]

How much of this narrative was Geoffrey's own invention is open to debate. He seems to have made use of the list of Arthur's twelve battles against the Saxons found in the 9th-century Historia Brittonum, along with the battle of Camlann from the Annales Cambriae and the idea that Arthur was still alive.[67] Arthur's status as the king of all Britain seems to be borrowed from pre-Galfridian tradition, being found in Culhwch and Olwen, the Welsh Triads, and the saints' lives.[68] Finally, Geoffrey borrowed many of the names for Arthur's possessions, close family, and companions from the pre-Galfridian Welsh tradition, including Kaius (Cei), Beduerus (Bedwyr), Guenhuuara (Gwenhwyfar), Uther (Uthyr) and perhaps also Caliburnus (Caledfwlch), the latter becoming Excalibur in subsequent Arthurian tales.[69] However, while names, key events, and titles may have been borrowed, Brynley Roberts has argued that "the Arthurian section is Geoffrey's literary creation and it owes nothing to prior narrative."[70] Geoffrey makes the Welsh Medraut into the villainous Modredus, but there is no trace of such a negative character for this figure in Welsh sources until the 16th century.[71] There have been relatively few modern attempts to challenge the notion that the Historia Regum Britanniae is primarily Geoffrey's own work, with scholarly opinion often echoing William of Newburgh's late-12th-century comment that Geoffrey "made up" his narrative, perhaps through an "inordinate love of lying".[72] Geoffrey Ashe is one dissenter from this view, believing that Geoffrey's narrative is partially derived from a lost source telling of the deeds of a 5th-century British king named Riotamus, this figure being the original Arthur, although historians and Celticists have been reluctant to follow Ashe in his conclusions.[73]

In the early 19th century, medievalism, Romanticism, and the Gothic Revival reawakened interest in Arthur and the medieval romances. A new code of ethics for 19th-century gentlemen was shaped around the chivalric ideals embodied in the "Arthur of romance". This renewed interest first made itself felt in 1816, when Malory's Le Morte d'Arthur was reprinted for the first time since 1634.[104] Initially, the medieval Arthurian legends were of particular interest to poets, inspiring, for example, William Wordsworth to write "The Egyptian Maid" (1835), an allegory of the Holy Grail.[105] Pre-eminent among these was Alfred Tennyson, whose first Arthurian poem "The Lady of Shalott" was published in 1832.[106] Arthur himself played a minor role in some of these works, following in the medieval romance tradition. Tennyson's Arthurian work reached its peak of popularity with Idylls of the King, however, which reworked the entire narrative of Arthur's life for the Victorian era. It was first published in 1859 and sold 10,000 copies within the first week.[107] In the Idylls, Arthur became a symbol of ideal manhood who ultimately failed, through human weakness, to establish a perfect kingdom on earth.[108] Tennyson's works prompted a large number of imitators, generated considerable public interest in the legends of Arthur and the character himself, and brought Malory's tales to a wider audience.[109] Indeed, the first modernisation of Malory's great compilation of Arthur's tales was published in 1862, shortly after Idylls appeared, and there were six further editions and five competitors before the century ended.[110]

In the latter half of the 20th century, the influence of the romance tradition of Arthur continued, through novels such as T. H. White's The Once and Future King (1958), Mary Stewart's The Crystal Cave (1970) and its four sequels, Thomas Berger's tragicomic Arthur Rex and Marion Zimmer Bradley's The Mists of Avalon (1982), in addition to comic strips such as Prince Valiant (from 1937 onward).[119] Tennyson had reworked the romance tales of Arthur to suit and comment upon the issues of his day, and the same is often the case with modern treatments too. Mary Stewart's first three Arthurian novels present the wizard Merlin as the central character, rather than Arthur, and The Crystal Cave is narrated by Merlin in the first person, whereas Bradley's tale takes a feminist approach to Arthur and his legend, in contrast to the narratives of Arthur found in medieval materials.[120] American authors often rework the story of Arthur to be more consistent with values such as equality and democracy.[121] In John Cowper Powys's Porius: A Romance of the Dark Ages (1951), set in Wales in 499, just prior to the Saxon invasion, Arthur, the Emperor of Britain, is only a minor character, whereas Myrddin (Merlin) and Nineue, Tennyson's Vivien, are major figures.[122] Myrddin's disappearance at the end of the novel is, "in the tradition of magical hibernation when the king or mage leaves his people for some island or cave to return either at a more propitious or more dangerous time", (see King Arthur's messianic return).[123] Powys's earlier novel, A Glastonbury Romance (1932) is concerned with both the Holy Grail and the legend that Arthur is buried at Glastonbury.[124]

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When I started this test, I knew that I wanted to do a true head-to-head test of these two titans in the baking industry. For this test, I used two commercially-available flours that you can readily find in a grocery store. Here are the stats on each:

When doing ingredient tests, I start simply. By looking at the products. Actually reviewing the products side-by-side. In this case, I got into it and did an unscientific texture check by rubbing each of the flours in my fingers.

The two batters looked the same until the addition of the flour mixture. At that point, it became clear that I was working with two very different products. The batter with the White Lily flour was noticeably looser and more silky. That was to be expected, considering that the protein content was so much lower for the White Lily flour (for more on protein content and how it impacts baked goods, take a look here!).

The great legendary king is most likely based on an actual historical figure from the 5th or 6th centuries CE. The difficulty in identifying Arthur as a certain historical figure is due to the primary sources which first tell his story. ff782bc1db