Camelot

Etymology

The name's derivation is uncertain. It has numerous different spellings in medieval French Arthurian romances, including Camaalot, Camalot, Chamalot, Camehelot (sometimes read as Camchilot), Camaaloth, Caamalot, Camahaloth, Camaelot, Kamaalot, Kamaaloth, Kaamalot, Kamahaloth, Kameloth, Kamaelot, Kamelot, Kaamelot, Cameloth, and Gamalaot. Arthurian scholar Ernst Brugger suggested that it was a corruption of the site of Arthur's final battle, the Battle of Camlann, in Welsh tradition. Roger Sherman Loomis believed it was derived from Cavalon, a place name that he suggested was a corruption of Avalon (under the influence of the Breton place name Cavallon). He further suggested that Cavalon became Arthur's capital due to confusion with Arthur's other traditional court at Caerleon (Caer Lleon in Welsh).

Others have suggested a derivation from the British Iron Age and Romano-British place name Camulodunum, one of the first capitals of Roman Britain and which would have significance in Romano-British culture. Indeed, John Morris, the English historian who specialized in the study of the institutions of the Roman Empire and the history of Sub-Roman Britain, suggested in his book The Age of Arthur that as the descendants of Romanized Britons looked back to a golden age of peace and prosperity under Rome, the name "Camelot" of Arthurian legend may have referred to the capital of Britannia (Camulodunum) in Roman times. It is unclear, however, where Chrétien de Troyes would have encountered the name Camulodunum, or why he would render it as Camaalot, though Urban T. Holmes argued Chrétien could have had access to Book 2 of Pliny's Natural History, where it is rendered as Camaloduno.

Medieval literature

Arthur's court at Camelot is mentioned for the first time in Chrétien's poem Lancelot, the Knight of the Cart, dating to the 1170s, though it does not appear in all the manuscripts. In the C manuscript (Paris, Bibliothèque Nationale de France, fonds français 794, folio 27r), which might in fact contain the proper reading of Chretien's original text, instead of the place name there is the Old French phrase con lui plot, meaning "as he pleased". The other manuscripts spell the name variously as Chamalot (MS A, f. f. 196r), Camehelot (MS E, f. 1r), Chamaalot (MS G, f. 34f), and Camalot (MS T, f. 41v); the name is missing, along with the rest of the passage containing it, in MS V (Vatican, Biblioteca Vaticana, Regina 1725). Camelot is mentioned only in passing and is not described:

A un jor d'une Acenssion / Fu venuz de vers Carlion / Li rois Artus et tenu ot / Cort molt riche a Camaalot, / Si riche com au jor estut.King Arthur, one Ascension Day, had left Caerleon and held a most magnificent court at Camelot with all the splendour appropriate to the day.

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 subsequent literature. Chrétien depicts Arthur, like a typical medieval monarch, holding court at a number of cities and castles.

It is not until the 13th-century French prose romances, including the Vulgate and Post-Vulgate cycles, 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. Most Arthurian romances of this period produced in English or Welsh did not follow this trend; Camelot was referred to infrequently, and usually in translations from French. However, in Britain, Arthur's court was generally located at Caerleon, or at Carlisle, which is usually identified with the "Carduel" of the French romances. One exception is Sir Gawain and the Green Knight, which locates Arthur's court at Camelot.

From Geoffrey's grand description of Caerleon, Camelot gains its impressive architecture, its many churches and the chivalry and courtesy of its inhabitants. Geoffrey's description in turn drew on an already established tradition in Welsh oral tradition of the grandeur of Arthur's court. The tale Culhwch and Olwen, associated with the Mabinogion and perhaps first written in the 11th century, draws a dramatic picture of Arthur's hall and his many powerful warriors who go from there on great adventures, placing it in Celliwig, an uncertain locale in Cornwall.

Identifications

Arthurian scholar Norris J. Lacy commented that "Camelot, located nowhere in particular, can be anywhere." The romancers' versions of Camelot draw on earlier traditions of Arthur's fabulous court. The Celliwig of Culhwch and Olwen appears in the Welsh Triads as well; this early Welsh material places Wales' greatest leader outside its national boundaries. Geoffrey's description of Caerleon is probably based on his personal familiarity with the town and its Roman ruins; it is less clear that Caerleon was associated with Arthur before Geoffrey. Several French romances (Perlesvaus, the Didot Perceval attributed to Robert de Boron, and even the early romances of Chrétien such as Erec and Enide and Yvain, the Knight of the Lion) have Arthur hold court at "Carduel in Wales", a northern city based on the real Carlisle. Malory's identification of Camelot as Winchester was probably partially inspired by the latter city's history: it had been the capital of Wessex under Alfred the Great, and boasted the Winchester Round Table, an artefact constructed in the 13th century but widely believed to be the original by Malory's time. Caxton rejected the association, saying Camelot was in Wales and that its ruins could still be seen; this is a likely reference to the Roman ruins at Caerwent.

In 1542, John Leland reported that the locals around Cadbury Castle (formerly known as Camalet) in Somerset considered it to be the original Camelot. This theory, which was repeated by later antiquaries, is bolstered, or may have derived from, Cadbury's proximity to the River Cam and the villages of Queen Camel and West Camel, and remained popular enough to help inspire a large-scale archaeological dig in the 20th century. These excavations, led by archaeologist Leslie Alcock from 1966 to 1970, were titled "Cadbury-Camelot" and won much media attention. The dig revealed that the site seems to have been occupied as early as the 4th millennium BC and to have been refortified and occupied by a major Brittonic ruler and his war band from c. 470. This early medieval settlement continued until around 580. The works were by far the largest known fortification of the period, double the size of comparative caers and with Mediterranean artefacts representing extensive trade and Saxon ones showing possible conquest. The use of the name Camelot and the support of Geoffrey Ashe helped ensure much publicity for the finds, but Alcock himself later grew embarrassed by the supposed Arthurian connection to the site. Following the arguments of David Dumville, Alcock felt the site was too late and too uncertain to be a tenable Camelot. Modern archaeologists follow him in rejecting the name, calling it instead Cadbury Castle hill fort. Despite this, Cadbury remains widely associated with Camelot.

Modern culture

Camelot has become a permanent fixture in modern interpretations of the Arthurian legend. The symbolism of Camelot so impressed Alfred, Lord Tennyson that he wrote up a prose sketch on the castle as one of his earliest attempts to treat the legend. Modern stories typically retain Camelot's lack of precise location and its status as a symbol of the Arthurian world, though they typically transform the castle itself into romantically lavish visions of a High Middle Ages palace. Some writers of the "realist" strain of modern Arthurian fiction have attempted a more sensible Camelot. Inspired by Alcock's Cadbury-Camelot excavation, some authors such as Marion Zimmer Bradley and Mary Stewart place their Camelots in that place and describe it accordingly.

Camelot lends its name to the musical Camelot, which was adapted into a film of the same title, featuring the Castle of Coca, Segovia as Camelot. An Arthurian television series Camelot was also named after the castle, as were some other works including the video game Camelot and the comic book series Camelot 3000. French television series Kaamelott presents a humorous alternative version of the Arthurian legend; Camelot Theme Park is a now-abandoned Arthurian theme park resort located in the English county of Lancashire. The Camelot Group was the first operator of the UK National Lottery with lottery machines named after characters, places, and objects in Arthurian legend. The vast cultural impact of Camelot can be seen in numerous works, products, and organisations. Visualizing Camelot, a University of Rochester exhibit by Alan and Barbara Tepa Lupack offered a cross-section of 350 such items in 2024.

In strictly American contexts, Camelot era refers to the presidency of John F. Kennedy. In a 1963 Life interview, Jacqueline, his widow, referenced a line from the Lerner and Loewe musical to describe the Kennedy era White House: "Don't let it be forgot, that once there was a spot, for one brief shining moment, that was known as Camelot." She indicated that it was one of Kennedy's favourite lyrics from the musical and added, "there'll be great Presidents again [...] but there'll never be another Camelot again."