Christmas In Camelot

In the story’s first section, Jack and Annie receive the dove’s invitation to Camelot, which serves as the inciting incident for Osborne’s children’s fantasy narrative that draws upon a long tradition of Arthurian literature. The siblings encounter several famous figures from Arthurian legend, including the enchantress Morgan Le Fay, King Arthur, Queen Guinevere, and the Knights of the Round Table. Since the Middle Ages, these characters have appeared in countless chivalric romances, poems, plays, novels, and other texts. In this story, Arthur sends Lancelot, Galahad, and Percival to the Otherworld. Sir Lancelot is often portrayed as the bravest of Arthur’s knights and one of the king’s closest companions who performed many legendary feats including rescuing Queen Guinevere from a villainous royal named Maleagant. Lancelot’s son, Sir Galahad, is considered the most spiritual of the Knights of the Round Table, renowned for his search for the Holy Grail, which is the cup used by Christ at the Last Supper. In some earlier texts, Sir Percival is the hero who seeks the grail. Their prominence in Arthurian legend explains why the king esteems them as “his three bravest knights” in Osborne’s tale and the best candidates for the quest to the Otherworld (24). Osborne subverts the usual narrative of the Arthurian stories by positioning the Knights of the Round Table as the ones in need of rescue.

The story also mentions Mordred, whose origins vary across the literary canon, with some legends depicting him as Arthur’s nephew and others making him the king’s son. In Sir Thomas Malory’s Le Morte d’Arthur, Mordred joins the Knights of the Round Table, betrays Arthur, and fatally wounds the king in his final battle. In Osborne’s tale, the author describes Mordred simply as “Arthur’s enemy” who commands a wizard to curse Camelot (13). Those familiar with Arthurian legends will note that one character is conspicuously absent from the first chapters—Merlin—foreshadowing the revelation that the magician is actively working to restore Camelot’s while concealing his identity. Likewise, the initial “M” on the royal invitation foreshadows the reveal that Merlin is the one who summoned Jack and Annie.

By setting the book in Camelot, Osborne departs from the established conceit of the Magic Tree House series and enters the realm of metafiction. Jack and Annie understand that Camelot is not a real place and is thus essentially different from the settings of their other adventures, such as ancient Egypt and feudal Japan. Morgan Le Fay enhances the text’s metafictional nature by giving Jack and Annie the definition of a legend, which underscores one of the central themes of the story—The Significance of Hope and Imagination:

‘The story of Camelot is a legend,’ said Morgan. ‘A legend is a story that begins in truth. But then imagination takes over. Different people in different times tell the story. They use their imaginations to add new parts. That is how a legend is kept alive’ (15).

With these words, the enchantress invites Jack and Annie to add to the story of Camelot. Within the world of the narrative, the siblings function both as characters who participate in the narrative’s action and as authors with the power to ensure that the story goes on. In addition, Morgan’s definition offers a way of understanding the quest to the Otherworld. Both memory and imagination are needed to restore Camelot because it lies at the crossroads of history and fiction.

The author begins to establish The Significance of Hope and Imagination in the first chapter when Annie chooses to believe that the dove is a messenger from Morgan and follows the bird to the magic tree house. Jack tells his little sister “You’re just hoping!” (4), contrasting his cautious nature with his sister’s boldness. As the story goes on, the siblings’ personalities and strengths complement one another and help them on their journey. Later in the chapter, Annie demonstrates both hope and creativity by wishing on the invitation because their usual means of travel is unavailable to them. Without hope and imagination, Jack and Annie wouldn’t be able to reach Camelot in the first place.

Osborne’s story also explores The Magic of Christmas and its Values, including joy, togetherness, and generosity. After reading the invitation, Jack’s imagination conjures a magical Christmas at Camelot: “He picture[s] a beautiful, glowing castle lit with candles and filled with knights and ladies feasting and singing” (6). His beautiful daydream stands in stark contrast with the castle that Jack and Annie find in Chapter 2 in which “no light [shines] from its windows. No banners [wave] from its turrets. Wind whistle[s] through its tall towers, sounding sad and lonely” (9). The author’s use of visual and auditory imagery underscores the reversal of the children’s expectations. At the start of the story, Camelot lacks the magic of Christmas in multiple senses. In a literal sense, Arthur bans magic from his kingdom, which explains why the children have seen no trace of “Morgan or the magic tree house in many months” (1). In addition, Camelot lacks the values that make Christmas such a magical time for so many around the world. The curse cast by Mordred’s wizard takes away the kingdom’s joy: “For months, Camelot has been without music, without celebration, and without laughter” (13). The king’s court also lacks togetherness because three of Arthur’s knights are separated from their friends. Osborne develops the theme of the magic of Christmas and raises the dramatic stakes of the plot by painting a dreary picture of a Camelot that has been robbed of all magic and cheer.

This section also introduces some of the story’s central symbols and motifs. First, the dove that appears in Chapter 1 serves as a motif of The Magic of Christmas and its Values. The bird is white, a color traditionally associated with the holiday. In addition, the dove leads the children to the magic tree house so they can restore the magic of Christmas to Camelot. Throughout the book, the author uses color symbolism to signal joy and gloom. She emphasizes the desolation of Camelot by dressing King Arthur’s court in subdued shades; the knights wear “brown tunics” (17), and Queen Guinevere wears “a plain gray robe” even though it is a major holiday (17). In contrast, the bright colors of the Christmas Knight’s red attire and his green-armored horse foreshadow his ability to help restore Camelot’s joy.