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Since the discovery of the Winchester Manuscript in 1934, perhaps the most enduring question in Malory criticism has been one of form. Before then, our earliest source for Malory’s “hoole book of kyng Arthur & of his noble knyghtes of the rounde table” was William Caxton’s print of 1485, but with new access to an earlier and apparently independent manuscript, the “hoole book” began to look very different. Themajor critical fault line in the wake of this find is perhaps best captured by the title of Eugène Vinaver’s influential 1947 edition: Works. By calling into question the unity of

The Chapter Headings of the Morte Darthur : Caxton and de Worde