The Book’s Moral Invitation

This flow traces how the preface frames the stories as both entertainment and instruction, inviting readers to distinguish virtue from vice.

increasingBearing stren­gth in each eventdecreasing

Caxton Defends the Story

History, Legend, and Belief The question of Arthur’s existence Caxton reports that some doubted whether Arthur existed, while others cited tombs, relics, and chronicles. The preface does not require readers to believe every marvelous episode. The story has a purpose Caxton presents the narrative as a source of noble and pleasant histories. Readers may accept the truth of events freely while still learning from them.

Good Deeds and Bad

Readers Are Asked to Choose Virtue is listed beside vice Caxton says the book contains courtesy, friendship, courage, murder, hate, virtue, and sin. The mixed catalogue makes clear that the story does not portray every knightly deed as good. The reader receives a charge The preface asks readers to follow the good and leave the evil. The moral work of the book therefore depends on judgment, not imitation without thought.

Ascham’s Objection

Romance Under Suspicion A charge against the book Roger Ascham condemns the stories’ battles and sexual misconduct, arguing that they may harm readers. His criticism treats popular romance as a moral risk. The introduction answers partly The editor accepts that some of Ascham’s complaint has force, but argues that he overlooks the book’s moral lessons and its condemnations of lawless love.

The Tragic Ending as Judgment

Consequences Speak Love is not simply praised The tragedy of Arthur, Guenever, and Launcelot gives weight to the harm their relationship causes. The book’s ending supplies a judgment that the earlier narrative sometimes leaves unclear. Virtue and vice coexist The characters possess genuine courage, courtesy, and tenderness, yet also commit grave wrongs. The reader is asked to hold both truths together.

A Legacy for Later Writers

The Story Changes with Its Readers New forms inherit old material Spenser and Milton draw upon Arthurian romance, while later writers transform its ideals into new literary forms. Malory’s book becomes a store of characters and moral images. Influence without repetition Later works revise the older story rather than merely repeat it. The introduction presents this change as an ongoing conversation about chivalry, marriage, and the nation’s character.

In the preface before the first book

At the close of the preface

In the introduction’s discussion of sixteenth-century criticism

In the introduction’s reading of Launcelot and Guenever’s fate

From Spenser and Milton to Tennyson