George opposite the large Waterworks Tower that dominated that ridge. I do not allege any significance in the relation of the two buildings; and I indignantly deny that the church was chosen because it needed the whole water-power of West London to turn me into a Christian. Nevertheless, the great Waterworks Tower was destined to play its part in my life, as I shall narrate on a subsequent page; but that story is connected with my own experiences, whereas my birth as I have said is an incident which I accept, like some poor ignorant peasant, only because it has been handed down to me by oral tradition. And before we come to any of my own experiences, it will be well to devote this brief chapter to a few of the other facts of my family and environment which I hold equally precariously on mere hearsay evidence.
Medieval epic[ edit ] The medieval romance developed out of the medieval epic, in particular the Matter of France developing out of such tales as the Chanson de Gestewith intermediate forms where the feudal bonds of loyalty had giants, or a magical horn, added to the plot. The entire Matter of France derived from known figures, and suffered somewhat because their descendants had an interest in the tales Ker epic romance essays were told of their ancestors, unlike the Matter of Britain.
Richard Coeur de Lion reappeared in romance, endowed with a fairy mother who arrived in a ship with silk sails and departed when forced to behold the sacrament, bare-handed combat with a lion, magical rings, and prophetic dreams.
Many early tales had the knight, such as Sir Launfalmeet with fairy ladies, and Huon of Bordeaux is aided by King Oberon but these fairy characters were transformed, more and more often, into wizards and enchantresses. Sir Gawain and the Green Knight is a late tale, but the Green Knight himself is an otherworldly being.
As time progressed, a new persecutor appeared: It is the most ancient prototype of an Italian singing fairy tale by an anonymous Tuscan author. It tells the story of a young Italian knight, depleted for its "magnanimitas", who gets the love of a fairy. When he loses this love because he does not comply with his conditions, Gherardino reconquers his lady after a series of labours, including the prison where he is rescued by another woman and a tournament where he wins.
Other examples of Italian Tuscan poetry tales are Antonio Pucci's literature: Another work of a second anonymous Italian author that is worth mentioning is Istoria di Tre Giovani Disperati e di Tre Fate "Story of three desperate boys and three fairies". Classical origins[ edit ] Some romances, such as Apollonius of Tyreshow classical pagan origins.
Ovid was used as a source for tales of Jason and Medea, which were cast in romance in a more fairy-tale like form, probably closer to the older forms than Ovid's rhetoric. It was introduced to the romance by Chretien de Troyescombining it with the Matter of Britain, new to French poets.
Many medieval romances recount the marvellous adventures of a chivalrous, heroic knightoften of super-human ability, who, abiding chivalry's strict codes of honor and demeanor, goes on a questand fights and defeats monsters and giants, thereby winning favor with a lady.
Forms of the High Middle Ages[ edit ] During the early 13th century, romances were increasingly written as prose, and extensively amplified through cycles of continuation.
These were collated in the vast, polymorphous manuscript witnesses comprising what is now known as the Vulgate Cyclewith the romance of La Mort le Roi Artu c. These texts, together with a wide range of further Arthurian material, such as that found in the anonymous cycle of English Brut Chroniclescomprised the bases of Malory 's Morte d'Arthur.
Prose literature thus increasingly dominated the expression of romance narrative in the later Middle Ages, at least until the resurgence of verse during the high Renaissance in the oeuvres of Ludovico AriostoTorquato Tassoand Edmund Spenser.
The genre began in thirteenth-century Norway with translations of French chansons de geste; it soon expanded to similar indigenous creations. Late Medieval and Renaissance forms[ edit ] In late medieval and Renaissance high culture, the important European literary trend was to fantastic fictions in the mode of Romance.
The romances were freely drawn upon for royal pageantry. Hudibras also lampoons the faded conventions of chivalrous romance, from an ironic, consciously realistic viewpoint.
Some of the magical and exotic atmosphere of Romance informed tragedies for the stage, such as John Dryden 's collaborative The Indian Queen as well as Restoration spectaculars and opera seriasuch as Handel 's Rinaldobased on a magical interlude in Tasso 's Gerusalemme liberata.
In the Renaissancealso, the romance genre was bitterly attacked as barbarous and silly by the humanistswho exalted Greek and Latin classics and classical forms, an attack that was not in that century very effective among the common readers.Get the latest celebrity news and gossip from the world of showbiz.
With photos, exclusive interviews, film and TV reviews and spoilers from The Sun. The writer was allowed to keep books in his cell and was also permitted to leave his light on as late as he wanted to read them (Getty).
by Ker, W. P. (William Paton), Publication date Topics Literature, Medieval -- History and criticism, Epic poetry -- History and criticism, Romances -- History and criticismPages: A W.
P. Ker Memorial Lecture is held at Glasgow University in his honour. Influence. He is referred to repeatedly in J. R. R. Tolkien's essay Beowulf: Epic and Romance: Essays on Medieval Literature (; second edition ) The Dark Ages () Sturla the .
Stay ahead of the curve with the latest news and scoops about your favorite TV shows and movies. The Parish's Library, named in honour of Pope John Paul II, was opened by the then Monsignor Mark Davies V.G.
on Sunday 15 March Containing over 2, items, the library boasts an excellent selection of books, videos, DVDs and cassettes for adults .