When you're basically what they call a Drakaina in Greek mythology, and your name essentially means mistake. 🤣 Poor Error!
References
Bruce, C. W. (1999). The Arthurian Name Dictionary. Garland Publishing, Inc.

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When you're basically what they call a Drakaina in Greek mythology, and your name essentially means mistake. 🤣 Poor Error!
References
Bruce, C. W. (1999). The Arthurian Name Dictionary. Garland Publishing, Inc.

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put that boy in the round table
fell into the trenches that is lancelot x galehaut.
gonna explain why they matter so much to me because i genuinely think they may be one of the most extraordinary relationships in medieval literature, and because every time i see them reduced to "lancelot's close friend galehaut" i feel a part of my soul leave my body.
For context: Galehaut is a character from the great French Arthurian prose romances of the thirteenth century, particularly the Lancelot-Grail Cycle (often called the Vulgate Cycle), one of the most influential literary projects of the European Middle Ages. When people think of Arthurian legend today, they are often imagining a version of the mythos shaped directly or indirectly by these texts. The Arthurian world most modern audiences recognize—the Round Table as a complex political institution, the centrality of Lancelot, the tragedy of Camelot, the Grail Quest, the immense emotional focus placed upon individual characters and their relationships—owes an incalculable debt to these prose cycles.
And Galehaut is not a footnote within them.
He is not an obscure side character who wanders onstage for a chapter and disappears.
He is, for substantial portions of the narrative, one of the most important people in Lancelot's life.
Which is remarkable because when Galehaut first appears, he seems destined to be something entirely different.
He enters the story as a conqueror.
Arthurian literature contains many kings. What makes Galehaut unusual is the scale on which he exists. He is called the Uncrowned King, a title that sounds almost paradoxical until one understands what it means. According to the romance tradition, Galehaut rules so many territories that no single crown can adequately symbolize his authority. The title is not a mark of deficiency. It is a mark of excess. He possesses too much power to be contained by ordinary political language.
He is wealthy. He is feared. He is militarily brilliant. He commands immense armies. He has spent much of his life expanding his influence across the known world.
And when he turns his attention toward Arthur's kingdom, the situation is not particularly favorable for Arthur. Galehaut is winning.
I will repeat this because it is essential to understanding the magnitude of what follows.
This is a man positioned to reshape the political order of Britain. This is a man whose ambitions are vast enough that even Arthur's kingdom appears merely another prize to be claimed. This is a man who has spent years constructing power.
Then he sees Lancelot. Not Sir Lancelot. Not the greatest knight in Christendom. Not the legendary lover of Guinevere. Not the future hero whose fame will eclipse almost every other knight of the Round Table.
Just a mysterious anonymous warrior fighting among Arthur's forces.
And something happens.
Galehaut becomes fascinated.
Suddenly the war matters less than identifying this knight. Political calculations matter less than understanding him. Military victories matter less than remaining near him.
One of the things that strikes me whenever I revisit these texts is how quickly Galehaut begins making decisions that become difficult to explain through ordinary political logic.
He repeatedly sacrifices advantage. He repeatedly prioritizes Lancelot's welfare. He repeatedly chooses personal attachment over strategic benefit.
The conqueror begins surrendering opportunities that conquerors do not ordinarily surrender.
And this is where people often invoke the medieval friendship discourse.
Which is fair. Genuinely. It is important.
The Middle Ages possessed emotional vocabularies that do not correspond to modern categories. Aristocratic friendship could be intense, passionate, and openly affectionate. Men could express forms of devotion that modern readers might instinctively interpret as romantic without necessarily conceptualizing them that way themselves.
All of this is true.
But sometimes I think the friendship discourse accidentally obscures the thing that is actually interesting.
Because regardless of how we categorize the relationship, the text itself is absolutely obsessed with Galehaut's love for Lancelot.
The question is not whether Galehaut loves Lancelot.
The text tells us he does.
Repeatedly.
The question is how we understand that love.
And what fascinates me is that the narrative treats this attachment not as a passing emotion but as the defining force of Galehaut's existence.
His ambitions begin bending around it. His choices begin bending around it. His future begins bending around it.
There is a reason Galehaut remains memorable despite existing in a literary tradition overflowing with kings, knights, giants, enchantresses, and saints.
His emotional life is astonishingly vivid.
Again and again the romances emphasize his desire for Lancelot's affection.
At one point Galehaut's deepest wish is essentially to be loved by Lancelot.
And every time I remember that detail I have to stare into the distance.
Because this is the Uncrowned King.
This is a man who could command armies. Who could alter kingdoms. Who could negotiate with monarchs as an equal.
And the thing he wants most in the world is something he cannot command.
The love of a single knight.
There is something profoundly human about that.
In many ways, Galehaut's greatness as a character comes from this contradiction.
Outwardly, he embodies power.
Inwardly, he is vulnerable.
The conqueror becomes emotionally dependent.
The king becomes hopeful.
The warrior becomes tender.
And nowhere is this more evident than in his relationship to Guinevere.
Because if Galehaut's devotion were purely possessive, the story would be much simpler.
But it isn't.
Instead, Galehaut becomes instrumental in facilitating one of literature's most famous romances.
He helps Lancelot and Guinevere.
He creates opportunities for their relationship to flourish.
And what devastates me about this is that the texts never suggest his own feelings diminish in the process.
He simply places Lancelot's happiness above himself.
Again.
And again.
And again.
Which means that one of the most powerful rulers in the Arthurian world spends enormous portions of his narrative helping another man pursue someone else.
If that is not tragedy, I do not know what is.
And then comes the ending.
Galehaut receives false news that Lancelot has died.
And he cannot bear it.
Upon learning of Lancelot's death, Galehaut's love was transfigured into a grief so profound that he could scarcely endure the burden of his own continued life.
Think about that for a moment.
This man has faced armies. Kingdoms. Wars. Political crises. He has spent his life navigating the brutal realities of medieval power.
And yet the thing that destroys him is grief.
He loses Lancelot.
(Or rather, he believes he has.)
And the loss proves unbearable.
The conqueror who could challenge Arthur himself simply wastes away.
There is something almost classical about the tragedy of it.
A great ruler brought low not by external enemies but by the internal magnitude of his own love.
And then Lancelot learns what has happened.
And his response matters.
Because the story could have treated Galehaut's devotion as one-sided.
It could have transformed him into a tragic figure whose feelings ultimately vanish into the margins.
It does not.
Instead, Lancelot is inconsolable.
He arranges for Galehaut to receive magnificent honors. He ensures that his memory endures. And most famously of all, he requests to be buried within the same tomb.
The tomb itself bears an inscription that has haunted readers for centuries:
"Here lies Galehaut, who died for his love of Lancelot."
I think that may be one of the most extraordinary epitaphs in medieval literature.
Because look at what has been omitted.
Not a word about conquest. Not a word about kingdoms. Not a word about military victories. Not a word about political power.
All of Galehaut's worldly achievements disappear.
The text strips them away.
What remains is love.
The defining fact of his life is not that he ruled. Not that he conquered. Not that he commanded armies.
It is that he loved Lancelot.
And Lancelot's response is to ask that, after death, they remain together.
Which means that buried deep within one of the foundational texts of the Arthurian tradition is the story of a king who saw a knight and willingly allowed that encounter to transform the entire course of his existence.
A conqueror who abandoned ambition for companionship.
A ruler who valued affection above power.
A man who died believing the person he loved was gone.
And another man who could not bear to be separated from him even in death.
And medievalists wonder why some of us emerge from the Prose Lancelot permanently altered.
As if there were any other possible outcome.
Arthuriana being Arthuriana: one of the warriors in Arthur's circle, Gwyn ap Nudd loved his sister. Other man kidnapped her, and Gwyn started a war. He wasn't able to win, however, and summoned Arthur to judge them. Arthur offered them to fight for her in a tournament.
The French Vulgate Cycle: when Lancelot brainrot meets being Grail-pilled

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[...]
(Source: Prose Tristan)
Seriously...
Isn't it so curious that there just happens to be another girl whose name is "Iseult"?
Who is also one of the most beautiful ladies in the world, just like Iseult of Ireland?
Who is also such a skilled healer, just like Iseult of Ireland?
@mortiscausa March to Camelot 2026 Reign:
Arthur yn Pen Teyrned ym Mynyw… Arthur yn Pen Teyrned yg Kelli Wig…
Arthur yn Ben Teyrned ym Penn Ryonyd yn y Gogled
Arthur as Chief of Princes in Mynyw
Arthur as Chief of Princes in Celliwig
Arthur as Chief of Princes in Pen Rhionydd in the North
Trioedd Ynys Prydein: The Triads of the Island of Britain, ed. and trans. Rachel Bromwich (Caerdydd, 2015)
The Triads are a collective of poetic groups which likely aimed to help poets remember various aspects about mythological and historical figures. The opening triad discusses the three thrones of Britain, each of which was held by Arthur. Here, Arthur’s dominance over the island of Britain is established over all other kings and lords.
Mynyw is linked to the Latin name for Tyddewi (St Davids in English), Menevia, and once was the arch-episcopal seat in Wales. Linking Arthur in the medieval period to such an important saint like Dewi (David) would have been central to reinforcing Welsh people’s British ancestry. Here, you ca see St. Govan’s Chapel in Sir Benfro, a cliff church not far from Tyddewi.
Celliwig and Pen Rhionydd are much more difficult to define. Celliwig is situated somewhere in Cornwall, and there have been some suggestions as to where. The editor of the Trioedd, Rachel Bromwich, had suggested Kelly Rounds in particular. A number of Arthurian stories make reference to Celliwig and is the basis of Arthur’s court at the beginning of Culhwch ac Olwen. Here is the Gallos statue from the beach underneath Tintagel.
Pen Rhionydd is Arthur’s court in a place called Hen Ogledd (Old North). As a place that largely covered modern day northern England and southern Scotland, it boasts as the homeland of a number of central figures in Welsh mythology and history. Notably, the supposed founder of the Gwynedd dynasty, Cunedda Wledig, had come from the area named Manaw Gododdin. The people of Yr Hen Ogledd were also those who fought in the poem Y Gododdin, a lament for fallen soldiers at the Battle of Catraeth. This collection of elegies also contains one of the oldest references to Arthur! The picture here is of Llafn y Cewri in Llanberis. Whilst this isn’t in Yr Hen Ogledd, a huge sword is apt for such an iconic battle from Welsh literature.
The Trioedd is a fantastic collection, and contains references to numerous figures who are familiar to those interested in Arthurian literature - Myrddin, Uthyr, Gwalchmai, Cai, and Drystan (Merlin, Uther, Gawain, Kay, and Tristan in English translation) all feature in their own ways. It reflects the variety of stories surviving from medieval Wales, and perhaps some of our best insight into a number of lost figures.
Bedivere and Kay
One of my theories* about Arthurian myth, is that Iseult of the White Hands/Iseult of Brittany is actually regular Iseult but from a different canon/continuity, one where Tristan and Iseult DID manage to win and get married (such as in one Welsh story) but it ended with Iseult murdering Tristan with poison.
Since the love story of Tristan and Iseult appears to be very, very archaic, with its roots in oral tradition, it follows that T&I probably has had many, many regional variants for how the plot goes. Maybe some versions don't have the love potion. Some end in a happily ever after, some do not.
It might be that, in some (possibly Breton) folk versions, Tristan just... fell out of love with Iseult (maybe it was ultimately just a fling in the end). Tristan then maybe starts to distance himself from Iseult or even tries finding a new LI. This angers Iseult into planning his death for scorning her, poisons him and, possibly, commits suicide right after. This would sound like a typical moralizing folk tale about reckless love and irresponsible persons.
The hypothesis, then, is that the popular version of Tristan and Iseult, with the two seemingly unrelated Iseults, is Romance writers trying to fold all those disparate folktales into a unified canon while also trying to have their cake and eat it - wanting a story where Tristan and Iseult remain in love, but also wanting to incorporate the tragic ending, rationalizing the Iseult who lets Tristan die as a separate person from the "true" Iseult.
*More presumptive speculation than anything lol
If I ever share anything that was AI generated it is purely by accident. I hate that it's getting harder and harder to tell and it makes me want to never use the internet again. It definitely had its faults, but man I miss the internet of the 2000s so much.
Adding to this: please TELL ME if I share something that is genAI and you know it is. I want to know this information.

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Amhren was named by Gwenhwyfar when Bedwyr, Cai and Arthur were in war or on some absurd quest, because she just had Amhar so she decided to just match their names since they were born on the same year. She made them grow up together with her handmaids and Gwyrde (who had already spawned)
Bedwyr wasn't amused, but by the time he came back his son did pick on the name, so he went along with it.
The other option is him and Arthur being drunk, they had their kids not so far back and usually you name a kid after they're old enough to survive, people rarely officially named newborns. And Arthur was just like: "Twin if both of our kids survive we need to give them some dumbass names. Let's give them matching names!"
And Bedwyr probably agreed and told Cai, who wasn't that happy about it (Bedwyr's son is his son too, take it as you will) but couldn't really argue with it except that it was an awful idea.
Some really old Bediveres my gf never posted
So erm
Arthur's kids but meme
Gwydre is made of glass because it amused me
Arthur please parent your kids, or don't idk which one is worse to them
They're all kids of Arthur's first wife (Gwenhyfar 1) except Melora who came from the second one (Gwenhyfar 2)
(Source: King Arthur had three sons, from Rutland Boughton)
Well, that was mean of him. I know Arthur probably takes pride in being a bard but still...
the treasury is running out of money
Give Cai some holidays Arthur, let the man rest.

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the treasury is running out of money
Rant warning: I don’t think I can articulate this very well but I am very tired of other trans men dumping their own internalized transphobia and body issues onto me/my artwork. While I enjoy drawing a variety of body types, I am often using my own body as a reference point.
I have been on T for a decade, this is how a trans man’s body looks after a decade on testosterone. When you comment that a drawing doesn’t look “masculine” enough, you are basing that on shitty made up ideals that you refuse to investigate or unpack.
Look at cis men and how their bodies also fold and squish and age, and how they sometimes have wider hips or carry fat. I am a gay man, and I like big burly hairy men, and I like soft squishy men, and I draw both. I like romantic imagery, and romanticizing parts of my body and other people’s body.
My artistic interest is the eroticism of the natural body, and where that intersects with transness. I am not drawing art that is meant as representative of all men or how they want their bodies to look. If what I draw positively depicts a trait you are dysphoric about, and it’s an uncomfortable feeling, it’s not a personal attack and you don’t need to tell me!