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Young Arthur is alive: this hand of mine / Is yet a maiden and an innocent hand, / Not painted with the crimson spots of blood.
1951, Graham Greene, The End of the Affair, Viking Press, page 96:
"Is his name Arthur?" "Arthur James." "It’s quite an old-fashioned name." "We’re an old-fashioned family. His mother was fond of Tennyson."
1966, Patrick White, The Solid Mandala, Avon Books, published 1975, →ISBN, page 270:
"It will not be his only name," Mr. Saporta said, and his glance hoped he had found an acceptable solution. "We shall also call him 'Aaron'. That will be his Jewish name. But for everyday purposes—Arthur."
^ Hall, Joseph Sargent (1942 March 2) “3. The Consonants”, in The Phonetics of Great Smoky Mountain Speech (American Speech: Reprints and Monographs; 4), New York: King's Crown Press, →DOI, →ISBN, § 2, page 89.
Il n’est pas rare aujourd’hui que le garçon bouvier se nomme Arthur, Alfred ou Alphonse, et que le vicomte — s’il y a encore des vicomtes — se nomme Thomas, Pierre ou Jacques. Ce déplacement qui met le nom « élégant » sur le plébéien et le nom campagnard sur l’aristocrate n’est autre chose qu’un remous d’égalité. L’irrésistible pénétration du souffle nouveau est là comme en tout.
It is not rare for the neatherd's boy nowadays to bear the name of Arthur, Alfred, or Alphonse, and for the vicomte—if there are still any vicomtes—to be called Thomas, Pierre, or Jacques. This displacement, which places the "elegant" name on the plebeian and the rustic name on the aristocrat, is nothing else than an eddy of equality. The irresistible penetration of the new inspiration is there as everywhere else.
So hit felle on a tyme kyng Arthur ſeyde vnto Merlion My barownes woll let me haue no reſte but nedis I muſte take a wyff ⁊ I wolde none take but by thy counceile and advice //