1. Chapter 1 Introduction

1.1 The Topic

1.2 Death and the Maiden

1.3 King Arthur Returns

1.4 Medievalism(s), Neomedievalism

1.5 Adaptation and Allusion

1.6 Texts and Trends

1.7 Afterlives

1.8 Notes

1.9 References

2. Chapter 2 The Lady and Elaine: Medieval Literature and Victorian Adaptation

2.1 Introduction

2.2 Before Tennyson

2.4 Responses

2.5 Notes

2.6 References

3. Chapter 3 Singing Her Own Song: The Lady/Elaine in Music

3.1 Introduction

3.2 The Lady and Elaine in Music

3.3 Nineteenth-Century Music: Material Conditions and Interpretations

3.3.1 Sweet is True Love

3.4 Twentieth-Century Music: Material Conditions and Interpretations

3.4.1 Adapting the Lady to music

3.4.2 Speaking for her own self

3.5 The Power of the Voice

3.6 Notes

3.7 References

4. Chapter 4 "She hath a lovely face" The Lady/Elaine in Art

4.1 Introduction

4.2 The Victorian Context

4.3 "Who hath seen her . . .?"

4.4 Book Illustrations

4.4.2 Cameron

4.4.3 Rhead

4.5 Paintings

4.5.1 Rosenthal's Elaine (1874)

4.5.2 Hunt's Lady

4.5.3 Waterhouse's Ladies (1888, 1894, 1915)

4.6 "Out flew the web . . ." The Lady/Elaine Online

4.7 Another Kind of Lady

4.8 The Power of the Image

4.10 References

5. Chapter 5 Patterns and Parody: The Lady/Elaine in Literature

5.2 Patterns

5.2.1 Conflation of Lady/Elaine

5.2.2 Non-Arthurian Intertexts

5.2.3 Strategies of Adaptation

5.2.4 Images: Tower (entrapment and isolation)

5.2.5 Images: Mirror (reality and self)

5.2.6 Images: Weaving/Embroidery (creativity and art)

5.2.7 Images: Lancelot (life-altering desire, loss, and rejection)

5.2.8 Images: Curse and Boat (inevitability of fate/doom)

5.3 Parody

5.3.1 The Lady on South Street

5.3.2 Floating Down to Cambridge

5.4 Conclusion

5.5 Notes

6. Chapter 6: Reading and Resisting: The Lady/Elaine in