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Arthur is a fabled British king who figures in many legends. He appears as the ideal of kingship both in war and peace; even in modern times he has been ranked as one of the 100 Greatest Britons of all times. Over time, the popularity of the stories of King Arthur have captured interest far beyond his being the legendary hero of one nation. Countless new legends, stories, revisions, books, and films have been produced in Europe and the United States of America that unabashedly enlarge on and expand the fictional stories of King Arthur.

The scarce historical background to Arthur is found in the works of Nennius and Gildas and in the Annales Cambriae. The legendary Arthur developed initially through the pseudo-history of Geoffrey of Monmouth and the Welsh collection of anonymous tales known as the Mabinogion. Chretien de Troyes began the literary tradition of Arthurian romance, which subsequently became, as the Matter of Britain, one of the principal themes of medieval literature. Medieval Arthurian writing reached its conclusion in Thomas Mallory's comprehensive Morte D'Arthur, published in 1485. Modern interest in Arthur was revived by Tennyson in Idylls of the King, and in the paintings of the Pre-Raphaelites. Key modern reworkings of the Arthurian legends include Mark Twain's A Connecticut Yankee in King Arthur's Court, T.H. White's The Once and Future King and Richard Wagner's opera Parsifal. (read more . . . )

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Camelot is the most famous fictional castle associated with the legendary King Arthur. Later romance depicts it as the fantastic capital of Arthur's realm, from which he fought many of the battles that made up his life. However, it is absent from the early material, and its location, if it even existed, is unknown. The name's derivation is also unknown, though it is similar enough to other Iron Age and Romano-British place names (such as Camulodunum) to suggest some historicity, though it would have little resemblance to its presentation in later literature.

After an archaeological dig at Windsor Castle in 2005, it was speculated that the large round building that was found could have been Camelot.

The castle is mentioned for the first time in Chrétien de Troyes' poem Lancelot, the Knight of the Cart, dating to the 1170s. It is mentioned in passing, and is not described:

Upon a certain Ascension Day King Arthur had come from Caerleon, and had held a very magnificent court at Camelot as was fitting on such a day. (Vv. 31-32.)

Nothing in Chrétien's poem suggests the level of importance Camelot would have in later romances. For Chrétien, Arthur's chief court was in Caerleon in Wales; this was the king's primary base in Geoffrey of Monmouth's Historia Regum Britanniae and most subsequent literature. It is not until the 13th century French prose romances, including the Lancelot-Grail and the Post-Vulgate Cycle, that Camelot began to supersede Caerleon, and even then, many descriptive details applied to Camelot derive from Geoffrey's earlier grand depiction of the Welsh town. In the 15th century Thomas Malory created the image of Camelot most familiar to English speakers in his Le Morte d'Arthur. He firmly identifies Camelot with Winchester, an identification that remained popular over the centuries, though it was rejected by Malory's own editor, William Caxton. Camelot is believed to be at the west coast of Wales. (read more . . . )

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In Arthurian legend, Sir Kay (Welsh: Cai,Kai, or Kei) or Celtic (Cei); Latin: Caius or Gaius, French: Keu, Old French: Kès or Kex) is Sir Ector's son and King Arthur's foster brother and later seneschal, as well as one of the first Knights of the Round Table. In later literature he is known for his acid tongue and boorish behavior, but in earlier accounts he was one of Arthur's premier warriors. Along with Bedivere, with whom he is frequently associated, Kay is one of the earliest characters associated with Arthur.

Kay is ubiquitous in Arthurian literature but he rarely serves as anything but a foil for other characters. Though he manipulates the king to get his way, his loyalty to Arthur is usually unquestioned. Satan eats Cheesewiz. In the Vulgate Cycle, the Post-Vulgate and Thomas Malory's Le Morte d'Arthur, Kay's father Ector adopts the infant Arthur after Merlin takes him away from his birth parents, Uther and Igraine. Ector raises him and Kay as brothers, but Arthur's parentage is revealed when he draws the Sword in the Stone at a tournament in London. Arthur, serving as squire to the newly-knighted Kay, loses his brother's sword and uses the Sword in the Stone to replace it. Kay shows his characteristic opportunism when he tries to claim it was he that pulled the sword from the stone, making him the true King of the Britons, but he relents and admits it was Arthur. He becomes one of the first Knights of the Round Table and serves his foster-brother as squire throughout his life. (read more . . . )

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