Confusion and illusion and relation : The function of utopian vision in Tennyson\u27s Idylls of the King

Tennyson uses the Arthurian legend in Idylls of the King to explore the conflict between the King\u27s utopian vision of society and the diverse inner visions of truth held by those individuals who must work to attain it. Dreaming of utopia inspires his kingdom to swear allegiance to his ideal, yet his view also places in the individual\u27s inner vision the ultimate authority for truth. Arthur\u27s utopia is never realized because his knights never fully see as he has seen and so never fully realize his vision. Each individual\u27s vision of Camelot is limited by that character\u27s personality, context, and abilities, and few visions harmonize with Arthur\u27s. Paradoxically, Arthur\u27s dream of utopia is both noble and impossible because it is based on the inner vision of men. In The Coming of Arthur, Tennyson presents a variety of visions of Arthur\u27s birth as the foundation upon which characters rely to construct Camelot. Gareth and Lynette and Pelleas and Ettarre demonstrate the interdependence of circumstances and inner visions in forging character within this construct. The Geraint idylls, Merlin and Vivien, and Lancelot and Elaine explore the intricacies of love and issues such as communication, compromise, shared vision, and balance which strengthen or destroy relationships. The Holy Grail investigates how people construct truth based on inner vision and the interdependence of those constructs and visions. Balin and Balan and The Last Tournament demonstrate that the vows of the Round Table are an unworkable necessity that measures failures and inspires successes. Guinevere and The Passing of Arthur offer redemption in the face of Camelot\u27s disintegration through striving for perfection. The Idylls becomes an optimistic affirmation of humanity\u27s ability to dream and aspire despite the knowledge that perfection is unattainable. Human limitations and imperfections provide the basis for beginning the redemptive process through searching for the divine. Discovering, not discoveries, exploring, not exploits, process, not product, are the focus of the Idylls of the King