《亞瑟之死》向來以其所涵蓋之廣大的題材、時間與空間著稱。馬羅里爵士在空間的呈現上包括了真實以及想像的地點，這些地點在其文本中具有不同的功\能，因而亦傳遞了讀者對空間有不同層次的想像。本論文借用Dick Harrison所提之微觀空間與宏觀空間的理論架構，探索《亞瑟之死》中的三種空間──水之空間、都市空間與奧秘空間，以及與此三種空間相關的美學關係。第一章討論水之空間，包含海港、湖泊、泉井、河川以及藍斯洛之淚水，並剖析這些地點或觀念如何與水的再生力量產生連結。在馬羅里的處理下，這些實際與想像的空間透過語言、道德向度和空間的垂直向度通往過去也連接未來。第二章探討都市空間，特別著眼於某些城市或鄉鎮所喚起之空間如何因著角色人物的社會與宗教活動、道德或不道德的行為而造成空間被神聖化或去神聖化。第三章討論聖爵探險所帶出的奧秘空間。第一部分先闡述聖爵騎士在特定的地點受到一連串的考驗，進而分析他們所經歷的地點之垂直向度或水平向度如何與各騎士的品德成正比例的美學關係。第二部分處理聖爵在文本中曾出現的地點，並將聖爵的內在空間類比為宇宙外的真空空間，以期瞭解聖爵在空間的結構下所顯示之真義。「美學空間」一詞主要包含微觀空間與宏觀空間，然而當角色的語言造成人物在空間上有所移動時亦包含語言空間。文中亦藉由比較《亞瑟之死》與古法文通俗本亞瑟傳奇始末中幾個重要的片段，試圖證明馬羅里成功\地呈現微觀空間與宏觀空間的想像。

The immense scope of Sir Thomas Malory’s Le Morte Darthur has long kept daunting his readers. In terms of space, Malory includes both historical locations and imaginary and unnamed natural locales in his work. These places have different functions and therefore transmit different dimensions of spatial imagination. This dissertation examines three kinds of space—water as space, urban space and mystical space, and the aesthetic relations to these spaces in Le Morte Darthur. These named spaces and the selected locations in each category will be analyzed in the framework of microspace and macrospace, a structure proposed by Dick Harrison in conceptualizing medieval spatial experiences. Chapter one explores water as space. Some geographical sites, such as harbors, lakes, wells and rivers, and an imaginary space of Lancelot’s tears as a qualitative concept are discussed in relation to the aquatic regenerative power. Particular interests are in how Malory accentuates differences which water exhibits in these sites and how water functions as a link to the past and to the future via language and spatial verticality. The second chapter moves to urban space, localized in specific places. This chapter aims to explicate how some medieval cities in Le Morte Darthur are consecrated or deconsecrated as a result of the city’s association with distinct social and moral/immoral activities. The final chapter discusses mystical space. The places of sojourn of the Grail knights during their quest are marked by spatial verticality and horizontality, in proportion to each knight’s moral worthiness. These locales form a preparatory path towards the space where the Grail vision and a divine message are ultimately revealed. An analogy between the interior space of the Grail and the extracosmic void space is drawn in order to convey the essence of the Grail in spatial terms. The progression from chapter one to three reflects a tendency from the physical to the mystical world of the human existence imagined in Malory’s work. Moral dimension plays an important role in that it enables the transformation from microspace to macrospace in some instances.
The term “aesthetic spaces” will include both microspace and macrospace, in which Malory employs real and imaginary sites to fulfill his aesthetic ideal. “Aesthetic spaces,” when taken in a broader sense, will also apply to “poetic space” when language results in the transference of space which characters experience. Three categories of texts will be employed in the discussion: literary, historical and theoretical texts. The first group includes Le Morte Darthur, some major medieval English romances and chronicles and the Old French prose Vulgate and Post-Vulgate Cycles; the second, fourteenth- and fifteenth-century philosophical, religious and historical documents; and the last, theories of medieval spatial thinking from Harrison and Mircea Eliade. Through comparisons of a number of passages in Le Morte Darthur and these two French versions, this writer attempts to show that Malory, as the first writer to incorporate the Grail narrative into Arthurian romance in England prior to the late fifteenth century, succeeds in presenting microspatial and macrospatial thinking in Le Morte Darthur.

Introduction 1
Plan of the Present Work 13
Methodology 19
Chapter One Water as Spaces: Harbors, Lakes and Similar Locales 29
Sandwich and Barfleur 32
The Lake of Diana 37
The Sinking Well and Galahad’s Well 68
Lancelot’s Tears 74
The River Thames 79
Chapter Two Urban Spaces: Consecrated and Deconsecrated Places 85
Camelot, Caerleon and London 86
London Revisited 104
The City of Sarras 130
Glastonbury 137
Chapter Three Mystical Spaces: Places Associated with the Grail Quest 145
Places of Sojourn on the Grail Quest 146
The Position of the Grail Narrative 162
Locations of the Grail 166
Ineffable and Imaginary Space 174
Extracosmic Void Space and the Space Imagined in the Grail 176
Malory’s Macrospace vs. Hardyng’s Microspace 200
Conclusion 207
Works Cited 217

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