The legendary story of Launcelot and Guinevere has been told for some 700 years; the story of King Arthur dates back to circa 600. But to most readers, Lord Tennyson set the portrait, and to them this version will come as something of a shock. Here, in gruesomely realistic terms, Britain of those far off days is painted as torn by strife, petty jealousies, conniving. Arthur is shown as a gross, uncouth, unlettered man of middle age, produced suddenly by the wily Merlin, as a straw king designed to serve as tool to Modred. Then, bit by bit, Arthur's dreams come through his halting phrases; he overcomes some of his fears; he takes matters into his own hands; he uses his knights to gain his goal- a united, prosperous, peaceful England. And still the undercurrents, the plotting are there. And the illicit love of Launcelot and the queen is the pawn used, as Kay and Gawain play into Modred's hands, and the two lovers are brought to trial. With the goal almost in sight, Arthur sees all destroyed, and-after the death sentence has stood for a year, releases Launcelot to turn the tide of civil war rife in the land. Almost one can picture Arthur played by Charles Laughton, winning ones' reluctant admiration and profound pity, as death writes finis to a dream. For the first time Britain of those days is minutely pictured as a setting for the crude development of Arthur's court and the renowned Round Table.