[Masefield's] chief dedication is to what he feels is the English spirit and to the interpretation to the world of that spirit, the land and the heritage from which it springs, and the men and words and deeds that it inspires. (p. 15)

From Salt-Water Ballads (1902) to Grace Before Ploughing (1966), there is frequent evidence of [Masefield's] interest in the early years of Britain. In several poems he combines historical reminiscence with his favorite theme of the persistence of human influence in those places where human existence has been especially violent or tragic or beautiful. (p. 22)

In his retelling of the tales of Tristan and of Arthur, Masefield does not follow Malory or any other Arthurian storyteller completely. He even adds new details, new motives, new characterizations of his own, borrowing and inventing freely in the medieval tradition. (p. 27)

Although he shows corruption in medieval government in a manner that...