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70-699: Rustichello da Pisa , also known as Rusticiano (fl. late 13th century), was an Italian romance writer in Franco-Italian language. He is best known for co-writing Marco Polo 's autobiography, The Travels of Marco Polo , while they were in prison together in Genoa . Earlier, he wrote the Roman de Roi Artus ( Romance of King Arthur ), also known as the Compilation , the earliest known Arthurian romance by an Italian author. Rustichello appears to have been

140-474: A quest , and fights and defeats monsters and giants, thereby winning favor with a lady . The Matter of France, most popular early, did not lend itself to the subject of courtly love , but rather dealt with heroic adventure: in The Song of Roland , Roland, though betrothed to Oliver's sister, does not think of her during the course of events. The themes of love were, however, to soon appear, particularly in

210-522: A Medieval work has also been noted to contains many magical or supernatural references. Drawing from many different sources, some notable allusions include elements of Christianity (an example being the multiple references to the Holy Grail ) as well as elements of Celtic legends. The Medieval romance developed out of the medieval epic, in particular the Matter of France developing out of such tales as

280-431: A crucial insight. The villain may also seek out the hero in their reconnaissance, perhaps to gauge their strengths in response to learning of their special nature. 5. DELIVERY : The villain succeeds at recon and gains a lead on their intended victim. A map is often involved in some level of the event. 6. TRICKERY : The villain attempts to deceive the victim to acquire something valuable. They press further, aiming to con

350-438: A directly acquired item, something located after navigating a tough environment, a good purchased or bartered with a hard-earned resource or fashioned from parts and ingredients prepared by the hero, spontaneously summoned from another world, a magical food that is consumed, or even the earned loyalty and aid of another. 15. GUIDANCE : The hero is transferred, delivered or somehow led to a vital location, perhaps related to one of

420-430: A family member, including but not limited to abduction, theft, spoiling crops, plundering, banishment or expulsion of one or more protagonists, murder, threatening a forced marriage, inflicting nightly torments and so on. Simultaneously or alternatively, a protagonist finds they desire or require something lacking from the home environment (potion, artifact, etc.). The villain may still be indirectly involved, perhaps fooling

490-449: A fixed, consecutive order: 1. ABSENTATION : A member of the hero's community or family leaves the security of the home environment. This may be the hero themself, or some other relation that the hero must later rescue. This division of the cohesive family injects initial tension into the storyline. This may serve as the hero's introduction, typically portraying them as an ordinary person. 2. INTERDICTION : A forbidding edict or command

560-729: A late date as the " Matter of Rome " (actually centered on the life and deeds of Alexander the Great conflated with the Trojan War ), the " Matter of France " ( Charlemagne and Roland , his principal paladin ) and the " Matter of Britain " (the lives and deeds of King Arthur and the Knights of the Round Table , within which was incorporated the quest for the Holy Grail ); medieval authors explicitly described these as comprising all romances. The three "matters" were first described in

630-735: A magical interlude in Tasso 's Gerusalemme liberata . In the Renaissance , also, the romance genre was bitterly attacked as barbarous and silly by the humanists , who exalted Greek and Latin classics and classical forms, an attack that was not in that century very effective among the common readers. In England, romances continued; heavily rhetorical, they often had complex plots and high sentiment, such as in Robert Greene 's Pandosto (the source for William Shakespeare 's The Winter's Tale ) and Thomas Lodge 's Rosalynde (based on

700-504: A minor thread in the episodic stream of romantic adventures. Some romances, such as Apollonius of Tyre , show classical pagan origins. Tales of the Matter of Rome in particular may be derived from such works as the Alexander Romance . 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 also drew upon

770-413: A narrative's underlying pattern, regardless of the linear, superficial syntagm, and his structure is usually rendered as a binary oppositional structure. For paradigmatic analysis, the syntagm, or the linear structural arrangement of narratives is irrelevant to their underlying meaning. After the initial situation is depicted, any wonder tale will be composed of a selection of the following 31 functions, in

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840-629: A native of Pisa . His first known work, the French text known as the Roman de Roi Artus or, simply, the Compilation , appears to derive from a particular book in the possession of Edward I of England when he passed through Italy on his way to fighting in the Eighth Crusade in 1270 to 1274. While written in French, it is the first known romance by an Italian author to address the Arthurian legend. The Compilation contains an interpolation of

910-424: A new persecutor appeared: a courtier who was rejected by the woman or whose ambition requires her removal, and who accuses her of adultery or high treason, motifs not duplicated in fairy tales. While he never eliminates the mother-in-law, many romances such as Valentine and Orson have later variants that change from the mother-in-law to the courtier, whereas a more recent version never goes back. In Italy there

980-512: A presence. Many early tales had the knight, such as Sir Launfal , meet 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. Morgan le Fay never loses her name, but in Le Morte d'Arthur , she studies magic rather than being inherently magical. Similarly, knights lose magical abilities. Still, fairies never completely vanished from

1050-709: A secondary school and then became a college teacher of German. His Morphology of the Folktale was published in Russian in 1928. Although it represented a breakthrough in both folkloristics and morphology and influenced Claude Lévi-Strauss and Roland Barthes , it was generally unnoticed in the West until it was translated in 1958. His morphology is used in media education and has been applied to other types of narrative, be it in literature, theatre, film, television series, games, etc., although Propp applied it specifically to

1120-433: A specific, ascending order (1-31, although not inclusive of all functions within any tale) within each story. This type of structural analysis of folklore is referred to as " syntagmatic ". This focus on the events of a story and the order in which they occur is in contrast to another form of analysis, the " paradigmatic " which is more typical of Lévi-Strauss's structuralist theory of mythology . Lévi-Strauss sought to uncover

1190-436: A time, termed scientific romance , and gaslamp fantasy is sometimes termed gaslight romance. Flannery O'Connor , writing of the use of grotesque in fiction, talked of its use in "the modern romance tradition." Vladimir Propp Vladimir Yakovlevich Propp ( Russian : Владимир Яковлевич Пропп ; 29 April [ O.S. 17 April] 1895 – 22 August 1970) was a Soviet folklorist and scholar who analysed

1260-399: Is a marked tendency to emphasize themes of courtly love , such as faithfulness in adversity. From c.  1760 – usually cited as 1764 at the publication of Horace Walpole 's The Castle of Otranto – the connotations of "romance" moved from fantastic and eerie, somewhat Gothic adventure narratives of novelists like Ann Radcliffe 's A Sicilian Romance (1790) or The Romance of

1330-417: Is considerable. Modern usage of term "romance" usually refer to the romance novel , which is a subgenre that focuses on the relationship and romantic love between two people; these novels must have an "emotionally satisfying and optimistic ending." Despite the popularity of this popular meaning of Romance, other works are still referred to as romances because of their uses of other elements descended from

1400-450: Is defeated by the hero – killed in combat, outperformed in a contest, struck when vulnerable, banished, and so on. 19. LIQUIDATION : The earlier misfortunes or issues of the story are resolved; objects of search are distributed, spells broken, captives freed. 20. RETURN : The hero travels back to their home. 21. PURSUIT : The hero is pursued by some threatening adversary, who perhaps seek to capture or eat them. 22. RESCUE : The hero

1470-551: Is described in medieval terminology. When Priam sends Paris to Greece in a 14th-century work, Priam is dressed in the mold of Charlemagne, and Paris is dressed demurely, but in Greece, he adopts the flashier style, with multicolored clothing and fashionable shoes, cut in lattice-work—signs of a seducer in the era. Historical figures reappeared, reworked, in romance. The entire Matter of France derived from known figures, and suffered somewhat because their descendants had an interest in

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1540-411: Is exposed to all and sundry. 29. TRANSFIGURATION : The hero gains a new appearance. This may reflect aging and/or the benefits of labour and health, or it may constitute a magical remembering after a limb or digit was lost (as a part of the branding or from failing a trial). Regardless, it serves to improve their looks. 30. PUNISHMENT : The villain suffers the consequences of their actions, perhaps at

1610-494: Is passed upon the hero ('don't go there', 'don't do this'). The hero is warned against some action. 3. VIOLATION of INTERDICTION . The prior rule is violated. Therefore, the hero did not listen to the command or forbidding edict. Whether committed by the Hero by accident or temper, a third party or a foe, this generally leads to negative consequences. The villain enters the story via this event, although not necessarily confronting

1680-476: Is rescued by another woman and a tournament that he wins. Other examples of Italian (Tuscan) poetry tales are Antonio Pucci's literature: Gismirante, Il Brutto di Bretagna or Brito di Bretagna ("The ugly knight of Britain") and Madonna Lionessa ("Lioness Lady"). 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"). The Arthurian cycle as

1750-489: Is saved from a chase. Something may act as an obstacle to delay the pursuer, or the hero may find or be shown a way to hide, up to and including transformation unrecognisably. The hero's life may be saved by another. 23. UNRECOGNIZED ARRIVAL : The hero arrives, whether in a location along their journey or in their destination, and is unrecognised or unacknowledged. 24. UNFOUNDED CLAIMS : A false hero presents unfounded claims or performs some other form of deceit. This may be

1820-466: Is so obsessed by chivalric romances that he seeks to emulate their various heroes.) 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 (1664) as well as Restoration spectaculars and opera seria , such as Handel 's Rinaldo (1711), based on

1890-406: Is the story called Il Bel Gherardino . 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 wins the love of a fairy. When he loses this love because he does not comply with her conditions, Gherardino reconquers his lady after a series of labours, including the prison where he

1960-568: The Chanson de Geste , with intermediate forms where the feudal bonds of loyalty had giants, or a magical horn, added to the plot. The epics of Charlemagne , unlike such ones as Beowulf , already had feudalism rather than the tribal loyalties; this was to continue in romances. The romance form is distinguished from the earlier epics of the Middle Ages by the changes of the 12th century, which introduced courtly and chivalrous themes into

2030-566: The Palamedes , a now-fragmentary prose account of Arthur's Saracen knight Palamedes , and a history of the Round Table . It was later divided into two sections, named after their principal protagonists, Meliadus ( Tristan 's father) and Guiron le Courtois . Both remained popular for hundreds of years, and influenced many later works written in French as well as in Spanish, Italian, and even Greek. Rustichello may have been captured by

2100-684: The Eastern Roman Empire (Byzantium) – including their love affairs – and where a predominantly oral tradition which survived in the Balkans and Anatolia until modern times. This genre may have intermingled with its Western counterparts during the long occupation of Byzantine territories by French and Italian knights after the 4th crusade. This is suggested by later works in the Greek language which show influences from both traditions. In later romances, particularly those of French origin, there

2170-567: The 12th century by French poet Jean Bodel , whose epic Chanson des Saisnes  [ fr ] ("Song of the Saxons") contains the lines: Ne sont que III matières à nul homme atandant: De France et de Bretaigne et de Rome la grant There are only three subject matters for any discerning man: That of France, that of Britain, and that of great Rome. In reality, a number of "non-cyclical" romances were written without any such connection; these include such romances as King Horn , Robert

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2240-631: The Dane (a translation of the anonymous AN Lai d'Haveloc); around the same time Gottfried von Strassburg 's version of the Tristan of Thomas of Britain (a different Thomas to the author of 'Horn') and Wolfram von Eschenbach 's Parzival translated classic French romance narrative into the German tongue. During the early 13th century, romances were increasingly written as prose, and extensively amplified through cycles of continuation. These were collated in

2310-587: The Devil , Ipomadon , Emaré , Havelok the Dane , Roswall and Lillian , Le Bone Florence of Rome , and Amadas . Indeed, some tales are found so often that scholars group them together as the " Constance cycle" or the " Crescentia cycle"—referring not to a continuity of character and setting, but to the recognizable plot. Many influences are clear in the forms of chivalric romance. The earliest medieval romances dealt heavily with themes from folklore, which diminished over time, though remaining

2380-637: The English Le Morte d'Arthur by Sir Thomas Malory ( c.  1408  – c.  1471 ), the Valencian Tirant lo Blanch , and the Castilian or Portuguese Amadís de Gaula (1508), spawned many imitators, and the genre was popularly well-received, producing such masterpiece of Renaissance poetry as Ludovico Ariosto 's Orlando furioso and Torquato Tasso 's Gerusalemme Liberata and other 16th-century literary works in

2450-473: The Forest (1791) with erotic content to novels centered on the episodic development of a courtship that ends in marriage. With a female protagonist, during the rise of Romanticism the depiction of the course of such a courtship within contemporary conventions of realism , the female equivalent of the " novel of education ", informs much Romantic fiction . In gothic novels such as Bram Stoker 's Dracula ,

2520-746: The Genoese at the Battle of Meloria in 1284, amid a conflict between the Republic of Genoa and the Republic of Pisa . When Polo was imprisoned around 1298, possibly after a clash between Genoa and Venice (according to tradition the Battle of Curzola ), he told his tales of travel to Rustichello. Together they created the book known as The Travels of Marco Polo . Romance (heroic literature) Popular literature also drew on themes of romance, but with ironic , satiric , or burlesque intent. Romances reworked legends , fairy tales , and history to suit

2590-512: The Matter of Britain, leading to even the French regarding King Arthur's court as the exemplar of true and noble love, so much so that even the earliest writers about courtly love would claim it had reached its true excellence there, and love was not what it was in King Arthur's day. A perennial theme was the rescue of a lady from the imperiling monster , a theme that would remain throughout

2660-592: The Swedish literary work Frithjof's saga , which was based on the Friðþjófs saga ins frœkna , became successful in England and Germany . It was translated twenty-two times into English, 20 times into German, and into many other European languages, including modern Icelandic in 1866. Their influence on authors such as J. R. R. Tolkien , William Morris and Poul Anderson and on the subsequent modern fantasy genre

2730-408: The above functions such as the home of the donor or the location of the magical agent or its parts, or to the villain. 16. STRUGGLE : The hero and villain meet and engage in conflict directly, either in battle or some nature of contest. 17. BRANDING : The hero is marked in some manner, perhaps receiving a distinctive scar or granted a cosmetic item like a ring or scarf. 18. VICTORY : The villain

2800-442: The actions of their future donor; perhaps withstanding the rigours of a test and/or failing in some manner, freeing a captive, reconciles disputing parties or otherwise performing good services. This may also be the first time the hero comes to understand the villain's skills and powers, and uses them for good. 14. RECEIPT OF A MAGICAL AGENT : The hero acquires use of a magical agent as a consequence of their good actions. This may be

2870-603: The basic structural elements of Russian folk tales to identify their simplest irreducible structural units. Vladimir Propp was born on 29 April 1895 in Saint Petersburg to an assimilated Russian family of German descent. His parents, Yakov Philippovich Propp and Anna-Elizaveta Fridrikhovna Propp (née Beisel), were Volga German wealthy peasants from Saratov Governorate . He attended Saint Petersburg University (1913–1918), majoring in Russian and German philology . Upon graduation he taught Russian and German at

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2940-630: The behavior of Lancelot conforms to the courtly love ideal; it also, though still full of adventure, devotes an unprecedented amount of time to dealing with the psychological aspects of the love. By the end of the 14th century, counter to the earliest formulations, many French and English romances combined courtly love, with love sickness and devotion on the man's part, with the couple's subsequent marriage; this featured in Sir Degrevant , Sir Torrent of Portyngale , Sir Eglamour , and William of Palerne . Ipomadon even explicitly describes

3010-524: The characters in tales could be resolved into seven abstract character functions: These roles could sometimes be distributed among various characters, as the hero kills the villain dragon, and the dragon's sisters take on the villainous role of chasing him. Conversely, one character could engage in acts as more than one role, as a father could send his son on the quest and give him a sword, acting as both dispatcher and donor. Propp's approach has been criticized for its excessive formalism (a major critique of

3080-423: The elements of romantic seduction and desire were mingled with fear and dread. Nathaniel Hawthorne used the term to distinguish his works as romances rather than novels, and literary criticism of the 19th century often accepted the contrast between the romance and the novel, in such works as H. G. Wells 's "scientific romances" in the beginning of science fiction . In 1825, the fantasy genre developed when

3150-548: The emergence of Scandinavian verse romance in Sweden under the patronage of Queen Euphemia of Rügen , who commissioned the Eufemiavisorna . Another trend of the high Middle Ages was the allegorical romance, inspired by the wildly popular Roman de la Rose . In late medieval and Renaissance high culture, the important European literary trend was to fantastic fictions in the mode of Romance. Exemplary work, such as

3220-455: 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 Ariosto , Torquato Tasso , and Edmund Spenser . In Old Norse, they are the prose riddarasögur or chivalric sagas. The genre began in thirteenth-century Norway with translations of French chansons de geste ; it soon expanded to similar indigenous creations. The early fourteenth century saw

3290-427: The family member into believing they need such an item. 9. MEDIATION : One or more of the negative factors covered above comes to the attention of the Hero, who uncovers the deceit/perceives the lacking/learns of the villainous acts that have transpired. 10. BEGINNING COUNTERACTION : The hero considers ways to resolve the issues, by seeking a needed magical item, rescuing those who are captured or otherwise thwarting

3360-555: The hands of the hero, the avenged victims, or as a direct result of their own ploy. 31. WEDDING : The hero marries and is rewarded or promoted by the family or community, typically ascending to a throne. Some of these functions may be inverted , such as the hero receives an artifact of power whilst still at home, thus fulfilling the donor function early. Typically such functions are negated twice, so that it must be repeated three times in Western cultures. He also concluded that all

3430-400: The hero. They may be a lurking and manipulative presence, or might act against the hero's family in his absence. 4. RECONNAISSANCE : The villain makes an effort to attain knowledge needed to fulfill their plot. Disguises are often invoked as the villain actively probes for information, perhaps for a valuable item or to abduct someone. They may speak with a family member who innocently divulges

3500-505: The judgement of many learned readers in the shifting intellectual atmosphere of the 17th century, the romance was trite and childish literature, inspiring only broken-down ageing and provincial persons such as Don Quixote , knight of the culturally isolated province of La Mancha . ( Don Quixote [1605, 1615], by Miguel de Cervantes [1547–1616], is a satirical story of an elderly country gentleman, living in La Mancha province, who

3570-434: The later form of the novel and like the chansons de geste , the genre of romance dealt with traditional themes. These were distinguished from earlier epics by heavy use of marvelous events, the elements of love, and the frequent use of a web of interwoven stories, rather than a simple plot unfolding about a main character. The earliest forms were invariably in verse, but the 15th century saw many in prose, often retelling

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3640-442: The married couple as lovers, and the plot of Sir Otuel was altered, to allow him to marry Belyssant. Similarly, Iberian romances of the 14th century praised monogamy and marriage in such tales as Tirant lo Blanc and Amadís de Gaula . Many medieval romances recount the marvellous adventures of a chivalrous, heroic knight , often of super-human ability, who, abiding chivalry's strict codes of honor and demeanor, goes on

3710-409: The medieval romance Gamelyn and the source for As You Like It ), Robert Duke of Normandy (based on Robert the Devil ) and A Margarite of America . The Acritic songs (dealing with Digenis Acritas and his fellow frontiersmen) resemble much the chanson de geste , though they developed simultaneously but separately. These songs dealt with the hardships and adventures of the border guards of

3780-559: The medieval romance, or from the Romantic movement: larger-than-life heroes and heroines, drama and adventure, marvels that may become fantastic, themes of honor and loyalty, or fairy-tale-like stories and story settings. Shakespeare's later comedies, such as The Tempest or The Winter's Tale are sometimes called his romances . Modern works may differentiate from love-story as romance into different genres, such as planetary romance or Ruritanian romance . Science fiction was, for

3850-428: The old, rhymed versions. The romantic form pursued the wish-fulfillment dream where the heroes and heroines were considered representations of the ideals of the age while the villains embodied the threat to their ascendancy. There is also a persistent archetype, which involved a hero's quest. This quest or journey served as the structure that held the narrative together. With regards to the structure, scholars recognize

3920-456: The protagonists and earn their trust. Sometimes the villain makes little or no deception and instead ransoms one valuable thing for another. 7. COMPLICITY : The victim is fooled or forced to concede and unwittingly or unwillingly helps the villain, who is now free to access somewhere previously off-limits, like the privacy of the hero's home or a treasure vault, acting without restraint in their ploy. 8. VILLAINY or LACKING : The villain harms

3990-414: The readers' and hearers' tastes, but by c.  1600 they were out of fashion, and Miguel de Cervantes famously burlesqued them in his novel Don Quixote . Still, the modern image of "medieval" is more influenced by the romance than by any other medieval genre, and the word medieval evokes knights, damsels in distress , dragons , and other romantic tropes . Originally, romance literature

4060-629: The romance genre. The romances were freely drawn upon for royal pageantry. Queen Elizabeth I's Accession Day tilts, for instance, drew freely on the multiplicity of incident from romances for the knights' disguises. Knights even assumed the names of romantic figures, such as the Swan Knight , or the coat-of-arms of such figures as Lancelot or Tristan. From the high Middle Ages, in works of piety, clerical critics often deemed romances to be harmful worldly distractions from more substantive or moral works, and by 1600 many secular readers would agree; in

4130-651: The romances of the medieval era. Originally, this literature was written in Old French (including Anglo-Norman ) and Old Occitan , later, in Old Spanish , Middle English and Middle High German – amongst the important Spanish texts was Book of the Knight Zifar ; notable later English works being King Horn (a translation of the Anglo-Norman (AN) Romance of Horn of Mestre Thomas), and Havelok

4200-608: The second one is the edition of the course he gave in Leningrad university. According to Propp, based on his analysis of 100 folktales from the corpus of Alexander Fyodorovich Afanasyev , there were 31 basic structural elements (or 'functions') that typically occurred within Russian fairy tales . He identified these 31 functions as typical of all fairy tales, or wonder tales [skazka] in Russian folklore . These functions occurred in

4270-468: The similarity of the romance to folk tales. Vladimir Propp identified a basic form for this genre and it involved an order that began with initial situation, then followed by departure, complication, first move, second move, and resolution. This structure is also applicable to romance narratives. Overwhelmingly, these were linked in some way, perhaps only in an opening frame story , with three thematic cycles of tales: these were assembled in imagination at

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4340-665: The tales that 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. Hereward the Wake 's early life appeared in chronicles as the embellished, romantic adventures of an exile, complete with rescuing princesses and wrestling with bears. Fulk Fitzwarin , an outlaw in King John's day, has his historical background

4410-634: The tradition. Sir Gawain and the Green Knight is a late tale, but the Green Knight himself is an otherworldly being. Early persecuted heroines were often driven from their husbands' homes by the persecutions of their mothers-in-law, whose motives are seldom delineated, and whose accusations are of the heroines' having borne monstrous children, committed infanticide, or practiced witchcraft — all of which appear in such fairy tales as The Girl Without Hands and many others. As time progressed,

4480-508: The traditions of magic that were attributed to such figures as Virgil. The new courtly love was not one of the original elements of the genre, but quickly became very important when introduced. It was introduced to the romance by Chretien de Troyes , combining it with the Matter of Britain, new to French poets. In Lancelot, the Knight of the Cart (unlike his earlier Erec and Enide ),

4550-515: The vast, polymorphous manuscript witnesses comprising what is now known as the Lancelot-Grail Cycle , with the romance of La Mort le Roi Artu c.  1230 , perhaps its final installment. These texts, together with a wide range of further Arthurian material, such as that found in the anonymous English Brut Chronicle , comprised the bases of Thomas Malory 's Le Morte d'Arthur . Prose literature thus increasingly dominated

4620-489: The villain, one of the villain's underlings or an unrelated party. It may even be some form of future donor for the hero, once they've faced their actions. 25. DIFFICULT TASK : A trial is proposed to the hero – riddles, test of strength or endurance, acrobatics and other ordeals. 26. SOLUTION : The hero accomplishes a difficult task. 27. RECOGNITION : The hero is given due recognition – usually by means of their prior branding. 28. EXPOSURE : The false hero and/or villain

4690-505: The villain. This is a defining moment for the hero, one that shapes their further actions and marks the point when they begin to fit their noble mantle. 11. DEPARTURE : The hero leaves the home environment, this time with a sense of purpose. Here begins their adventure. 12. FIRST FUNCTION OF THE DONOR : The hero encounters a magical agent or helper ( donor ) on their path, and is tested in some manner through interrogation, combat, puzzles or more. 13. HERO'S REACTION : The hero responds to

4760-678: The wonder or fairy tale. In 1932, Propp became a member of Leningrad University (formerly St. Petersburg University) faculty. After 1938, he chaired the Department of Folklore until it became part of the Department of Russian Literature. Propp remained a faculty member until his death in 1970. His main books are: He also published some articles, the most important are: First printed in specialized reviews, they were republished in Folklore and Reality , Leningrad 1976 Two books were published posthumously: The first book remained unfinished,

4830-472: The works. This occurred regardless of congruity to the source material; Alexander the Great featured as a fully feudal king. Chivalry was treated as continuous from Roman times. This extended even to such details as clothing; when in the Seven Sages of Rome , the son of an (unnamed) emperor of Rome wears the clothing of a sober Italian citizen, and when his stepmother attempts to seduce him, her clothing

4900-528: Was written in Old French (including Anglo-Norman ), Old Occitan , and Early Franco-Provençal , and later in Old Portuguese , Old Spanish , Middle English , Old Italian (Sicilian poetry), and Middle High German . During the early 13th century, romances were increasingly written as prose. In later romances, particularly those of French origin, there is a marked tendency to emphasize themes of courtly love , such as faithfulness in adversity. Unlike

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