Much modern scholarship on King Arthur has revolved around the question of his historicity and origins, the recent greatest example being Higham’s magisterial 2018 survey of all the major theories—except the one that I advance here: Arthur was only one of many legendary chivalric heroes with whom continental Crusader and Reconquistador storytellers populated the North Atlantic archipelago, in their imaginations the spiritual homeland of a fictional Europe innocent of Semitic influences (both Muslim and Jewish). First, we run through all the major Arthurian theories—including the all-time banger whereby Arthur was a Croatian-Roman general who led nomadic Iranian horse-rider recruits to fight off the Angles and Saxons in the last days of Roman Britain—as exhaustively investigated by Higham. Then I state the obvious: that all the most distinctive features of the Arthur story appear for the first time in French chivalric romance (with many parallels in Spanish, Italian, and Catalonian stories featuring other characters) in the twelfth and thirteenth centuries, as the new Crusader concept of taking territory “back” from Muslims became the conceit of knightly adventure and conquest of “islands that the Emperor of Rome could not hold”, and the phenomenon of Crusaders bringing back relics from the holy land grew into legends like that of the Holy Grail. Finally, we explore one of foundational Japanese novelist Natsume Sōseki’s very first literary ventures, the Arthurian story “Kairokō” (“A Dirge”, 1905) and the modern, pseudo-modern, or hyper-modern twists and turns that it imposes on earlier Arthurian stories by Malory (1485) and Tennyson (1833), while trying to steer clear of allegedly un-civilized and un-modern predecessors in Edo-period kabuki and puppet theatre—which were perhaps in fact more authentically modern because rooted in Afro-Asiatic silk road capitalism.

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