David, Once and Future King? A Closer Look at the Postscript of Psalm 72.20

How did scribes understand Psalm 72.20, ‘Ended are the prayers of David, son of Jesse’, in view of subsequent Davidic psalms in the MT Psalter? After appraising the major proposals and examining its earliest reception (MT pointing, DSS parallels, and early Jewish and patristic evidence), this paper argues that the oft-overlooked genealogical qualifier ‘ben Jesse’ indicates a primary focus on ‘historical’ David in Books 1–2, whereas Books 3–5 primarily have future or eschatological ‘David’/Davidic monarchy in view. This synchronic account of 72.20’s meaning in the Psalter honours its plainest sense and explains its editorial retention/reuse, yet leaves room for diachronic theories about its origins. It also accounts for evidence other theories do not, especially Psalm 86’s identification as a ‘prayer (תפלה‎) of David’ and the Psalms’ predominant association of תפלה‎ with David. Further implications for ‘psalmic voice’ and David’s significance as YHWH’s praying servant in the Psalter are then explored.

Arthur pendragon Camelot evolution in merlin: A virtual fan art in the computation age

This paper inspects Arthur Pendragon Camelot evolution in Merlin, the research review on the Citadel of Camelot, Camelot Administration, Knights of Camelot, Early History of Camelot, The Intensification of The Once and Future King, Map of Camelot, and the Sovereignty of Arthur. Camelot Castle is the castle where the royal family live, and where the court is held. The citadel houses a garrison of at least 12,000 men and had never fallen in a siege before Morgause's invasion by her immortal army. It is currently the home of Guinevere Pendragon, the Queen of Camelot after her husband King Arthur Pendragon. In virtual fan art, Arthur Pendragon is shown to be a very wealthy kingdom as it offers a prize of a thousand gold coins for participation in its tournaments. Camelot is widely known for its laws banning all forms of magic and enchantments on penalty of death, usually by burning or beheading. However, the meter theater illustrates of Merlin who is Arthur's servant, secret protector, and best friend, and Gaius's ward and apprentice. Serves as an unofficial member of Arthur's Round Table and is a direct enemy of Mordred and Morgana. Waiting for Arthur to rise again. He is destined to protect Arthur so he can unite Albion under one high King.

Interpretation and Characterization in Lerner and Loewe’s Camelot

This chapter looks at how Alan Jay Lerner and Frederick Loewe adapt T. H. White’s The Once and Future King in both original 1960 Broadway stage production and the 1967 Hollywood film adaptation. Specifically, this chapter looks at how the musical Camelot interprets White’s version of Arthurian legend, tracking the changes Lerner and Loewe made and especially how song affects characterization. Drawing on archival research completed at the Library of Congress, this chapter examines the process of adapting this long unwieldy myth into a musical. Although Loewe did not work on the 1967 film, Lerner wrote the screenplay. Since the film version remains fixed and widely available, it is worth investigating how the changes made to it further adapt the tale. Since Lerner and Loewe chose to focus on the love triangle between Arthur, Guenevere, and Lancelot, this chapter pays particular attention to how Lerner and Loewe alter their characters.