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A fantasy read-list: A-3

Fantasy read-list

Part A: Ancient fantasy

3) Medieval fantasy - the Arthuriana

While one root of the fantasy genre lies within the mythologies of the world, the other is coming from numerous medieval tales and supernatural stories, most of them being centered around what we call today the “Arthurian myth” or the “Arthuriana”. Though, in truth, the genre of these texts is a bit bigger - it is the “Matter of Britain”, which is larger than the Arthurian texts themselves.

And we will begin our list with... French texts! It might surprise you - you might say “But aren’t Arthurian texts all English?”. No. The Matter of Britain designates all the medieval texts that are not the “Matter of Rome” or the “Matter of Thebes” (aka coming from the texts and topics of Ancient Rome and Ancient Greece). Britain is, of course, England, as in “Great-Britain”. But if there is a GREAT Britain, it means there is a “Little Britain”... And this Little Britain is none other than the Bretagne region of France, aka the north-west of France. The Arthurian myth is half-rooted in England, yes, but another half of the origins and founding texts of the Arthurian legend come from France. The famous Broceliande forest is in France, not in England. 

# The founding texts of the French Arthurian literature are without a doubt the novels of Chrétien de Troyes. Considered the very first French novel of history, they created many of the well-known “Arthurian legends” of today. There is a total of five of these novels. Two are indirectly tied to the Arthurian world - Eric and Enide, Cligès. Two are right at the heart of the Arthuriana: Yvain or the Knight of the Lion, as well as Lancelot or the Knight of the Cart. And his final novel is incomplete, but it is the one that created the most famous part of the Arthurian literature: Perceval or the Story of the Grail, the first literary apparition of the famous “Holy Grail” (fun fact: the Grail wasn’t originally a cup, but a fish-plate. Go read the book, you’ll understand Xp). 

# Equating and rivaling Chrétien’s novels, we find the lais of Marie de France. A “lai” is actually a short fiction typical of the Middle-Ages, something halfway between a narrative poem and a fairytale, telling short, concise, but very efficient stories. We have a LOT of lais that came to us anonymously, carrying numerous literary stories or folktales of medieval times - but in France the most famous lais are those attributed to a certain “Mary of France”. She wrote twenty or so VERY famous lais that are seen as one of the defining feature of old medieval French literature. We are talking Bisclaveret, one of the oldest werewolf stories, we are talking of the supernatural romance of Guigemar, we are talking about the twin-shenanigans of Le Fresne, about the tragic love of Chevrefoil, and about the Arthurian lai of Lanval, about a man in love with a fairy but wooed by Guinevere herself. 

Mind you, there are other lais not composed by Marie de France, such as the one of Guingamor or the one of Sir Orfeo, but they are mostly anonymous.

# The works of Robert de Boron. Robert de Boron continued the work started by Chrétien de Troyes (and also took inspiration from the poet’s Wave semi-historical semi-fictional work, such as the Roman de Brut, a historical chronicle where Merlin and dragons appear), and built the next “step” in the Arthurian myth in France. Unfortunately we do not have his full work anymore, merely a fragment of his poem “Merlin” (where he presents the famous story of the “born of a demon” episode), a short “Perceval” story, and his full “Estoire du Graal ou Joseph d’Arimathie”, which is where the background of the Grail as the cup that collected Christ’s blood appears. Together they are considered as “le Petit Cycle du Graal”, “The Small Cycle of the Grail”, preceeding the following item...

# More interestingly, after the enormous success of Chrétien de Troyes’ work, there was an entire series of books that were created, remembered today as the Lancelot-Graal, or the Prose Lancelot, the Vulgate Cycle. These are five texts in prose (in opposition to Chrétien and Boron’s verse works), who continue or rewrite the previous author’s texts - these are L’Estoire del Saint Graal (L’Histoire du Saint Graal/The History of the Holy Grail), L’Estoire de Merlin (L’Histoire de Merlin/Merlin in prose),  Le Lancelot (also called Lancelot in prose or Lancelot proper), La Queste del Saint Graal (The Quest of the Holy Grail), and La Mort d’Artu (The death of Artu). This cycle was followed by three prose texts known as “The Post-Vulgate Cycle” (Histoire du Saint Graal, Merlin, Queste-Mort Artu) which are merely the transcription in prose of some of Boron works, mixed with a rewrite of the “Tristan en prose”, an old novel of the Tristan and Iseult cycle (and the first that links the legendary duo with the Arthurian world).

# The Roman de Perceforest is a quite unique work designed to unite the “romans d’Alexandre” (Alexandrian novels, a big branch of medieval French literature centered around the adventure of Alexander the Great) and the Arthurian novels - more importantly, Perceforest is the oldest known literary version of the fairytale Sleeping Beauty.

# A section should be left here for the various novels involving the fairy Mélusine, one of the main characters of the French medieval legends. In fact, she is recognized (by Georges Dumézil’s work and those that continued it) as one of the two archetypal fairies of the middle-ages (the Melusinian fairy being the fairy entering the human world to live with humans, opposing the Morganian fairy who snatches humans into the otherworld). The legend of Mélusine was most notably recorded in Jean d’Arras “Roman de Mélusine”, and in Coudrette’s own “Roman de Mélusine”.

# There are many, MANY more literary works of medieval France, but to stay in the angle of “ancient fantasy” I will merely quote two more. On one side, la Chanson des quatre fils d’Aymon, a famous medieval epic which notably depicts the figure of Maugis the Enchanter, the other main sorcerer of medieval texts alongside Merlin (he has his own poem, La Chanson de Maugis d’Aigremont). On the other, the one one, the classic, the best-seller, the unavoidable Roman de Renart, the Novel of Reynart, the tentacular set of texts depicting the numerous adventures of the most famous European trickster in an animalistic parody of the Arthurian world.

If we jump outside of France to England, we have a different set of texts:

# The works of Geoffrey of Monmouth. This man wrote some of the earliest works part of the “Arthurian myth”, and from which a lot of elements were taken to create the “Arthuriana”. While his most famous work is “Historia Regum Britanniae”, a semi-historical chronicle of the kings of Britain which contains one of the earliest appearance of King Arthur as we know him today, he also wrote two texts fundamental to the figure of Merlin: Prophetiae Merlini, and Vita Merlini. 

# Otia Imperialia, by Gervase of Tilbury. It was a work created as a gift to emperor Otto V, and it was supposed to be an encyclopedia of geographical, historical and scientific matters - but it is actually containing a LOT of mythical and legendary elements, including entire part of the “Arthurian myth” presented as historical facts - hence its latter name “The Book of Marvels”. 

# Of course, we can’t list the major Arthuriana English works without talking about the most famous one: “Le Morte d’Arthur”, the final result of the “evolution” of the Arthurian myth. Thomas Malory’s attempt at creating a complete legend uniting all of the English and French Arthurian texts (though heavily inspired by the Lancelot-Graal cycle I described above). This text became the “definitive Arthurian text” in England for a very long time - and in more recent days, it was the main inspiration for the famous Arthurian novel “The Once and Future King” by T. H. White.

And while the Arthurian corpus is mostly made of English and French texts, you also have Arthuriana sources in other European countries - such as in Germany, where you can find Lanzelet, by Ulrich von Zazhikhoven, which marks the first apparition of Lancelot in German literature. 

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A fantasy read-list: A-1

Fantasy read-list 

Part A: Ancient fantasy

1) Mythological fantasy (Greco-Roman)

The oldest form of fantasy in the history of mankind is, without a doubt, mythology. The roots of the modern fantasy genre are found in the old myths and legends of the Antiquity - and so this read-list will open with a few works of reference when it comes to mythology, the most famous texts covering the legends of old.

# The “founding duo”: Homer and Hesiod

These two poets form the oldest Greek mythological texts known to history, and together they created the basis on which classical Greek mythology formed itself (though Hesiod and Homer had conflicting mythology, with numerous differences in pantheons, relationships and cosmogonies, resulting in an “Homeric” Greek mythology - older and more archaic - and an “Hesiodic” Greek mythology - the most famous and widespread one, the “classical” pantheon). 

Homer’s Iliad and Odyssey, the two greatest epics of Ancient Greece, and the two works from which the epic genre originally defined itself. The Homeric Hymns were probably not written by Homer himself, just written in his style, but they are also a series of mini-epics each depicting the greatest adventures and most famous legends of the Greek gods.

Hesiod’s Theogony is the cosmogony of Ancient Greece, and the creation legend of its mythology. He also collected/wrote several Greek myths in his Works and Days.

# Callimachus’ Aetia (a poem explaining the mythological origins of rites, cults and worships, in the style of the Theogony) and Hymns (hymns to the god in the style of the Homeric Hymns)

# Apollonius’ Argonautica. Another famous Greek epic, and the main source of information for the myth of Jason, Medea and the Argonauts.

# The trio of famous Ancient Greece tragedy playwrights. Aeschylus, author of Prometheus Bound, the Seven Against Thebes, and the Oresteia trilogy (Agamemnon, The Libation Bearers, The Eumenides).  Sophocles, with his Theban trilogy (Oedipus-Rex, Oedipus at Column, Antigone) and other plays such as Ajax or the Women of Trachis. Euripides, famous for his Medea, Hippolytus, Alcestis, Herakles, Iphigenia in Tauris, The Bacchae and many more... 

Plus, in a different genre, Artistophanes, the “father of comedy” or “prince of comedy”: The Birds and The Frogs are his most mythological plays, though other classics of his include The Clouds, The Wasps or Lysistrata... 

# The fourth volume of Diodorus Siculus’ “Bibliotheca historica”, which is a true encyclopedia of all the Greek myths and legends Diodorus could find.

# The “founding duo” of Roman myths: the Roman equivalent of Hesiod and Homer, with works just as influential as them.

Virgil, who with his Aeneid formed a “sequel” to Homer’s Iliad and created the greatest Roman epic of history - he also collected/rewrote several myths in his Bucolics and Georgics. 

Ovid’s Metamorphoses is the other main piece of literature that defined Ancient Roman literature and mythology as a whole, and for the longest time in Europe it stayed the main source of information about Greco-Roman mythology - to the point Ovid’s Metamorphoses was much more well-known than Hesiod or Homer’s own works. Other works of his with mythological tales include his Ars Amatoria and his Fasti. 

# Titus Livius’ “Ab urbe condita”, a work containing the history of Rome, but opening with the myths and legends concerning the foundation of this city.

# Antoninus Liberalis’ Metamorphoses, the lesser-know “twin” of Ovid’s own Metamorphoses.

# Hyginus’ Fabulae and De Astronomica. Compilation of myths and legends told with a scientific mind. 

# Apuleius’ The Golden Ass. A strange, bizarre, mystic and comical novel of late Ancient Rome, which contains the most famous version of the legend of Psyche and Cupid.

# The works of Lucian, another author of late Antiquity. Highlights include The Dialogues of the Gods, a parody of the Homeric epics and mythology ; Lover of Lies, which contains the earliest version of “The Sorcerer’s Apprentice” tale ; and A True Story, considered by many to be the earliest work of sci-fi.

# The Orphic Hymns, and the Orphic Argonautica, the two main texts informing us about the “Orphic religion”, a mystery cult with its own mythology, cosmogony and beliefs completely separate from the “classical” Greek mythology of Hesiod/Homer. 

# Nonnus’ famous Dionysiaca, the last of the great mythological epics of Antiquity, written by a very, VERY late Greek author (we are talking of a post-Roman era author, living in an early-Christianized Greece). 

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Fantasy read-list: A-3.5

After an article about “Greco-Roman fantasy” or Antique fantasy, I also have found an article evoking the role and importance of the Arthurian myth in fantasy (well, two articles actually). 

The first one is an article by Sara Doke, who offers her own chronology of the Arthurian literature. You will be able to compare it with my original Arthuriana post, and see the slight differences.

1) For Sara Doke, the beginning of it all, the foundation of the Arthurian literature, the first works of the Arthurian world as we understand it today, would be Geoffrey of Monmouth’s works: The Prophecies of Merlin, The History of the Kings of Britain, and the Life of Merlin. (You will often hear these orks referred to by their Latin names, such as Vita Merlini or Prophetiae Merlini).

2) Then, there was the “spark” that actually ignited and gave life to the Arthurian legend and literature. This “spark” was a set of two authors, who used the work of Monmouth as a basis for their work. On one side, Robert Wace with his Roman de Brut, followed by his Roman de Rou (not to be confused by Layamon’s own Roman de Brut, an English rewrite of the original French epic). On the other side, the author I heavily talked about in my original post: Chrétien de Troyes, the “father of the matter of Britain”, and the shaper of the Arthurian myth as we know it today - with his five novels, Erec and Enide, Cliges, Yvain the Knight of the Lion, Lancelot the Knight of the Cart, and Perceval the Story of the Grail. 

3) The third step of the Arthurian evolution was a series of works that slowly shifted the focus of the plot and stories away from the knights of the Round Table themselves, away from their individual and personal adventures, to rather follow the quest of the Grail, which became the main “end-goal” of the Arthuriana. This was the time of Robert of Robon who, through his cycle of works (Joseph d’Arimathie, Merlin, and others lost to time), opened the way for the Vulgate Cycle (or “Lancelot-Grail”), with its History of Merlin, Lancelot Proper, Quest for the Holy Grail, Death of King Arthur... The Vulgate Cycle was then followed by the Post-Vulgate Cycle, which took back the material, books and stories of the Vulgate, but fused them with another very popular literary work of the time: the Prose Tristan. 

4) After the Post-Vulgate Cycle, Sara Doke notes that there was a disinterest in the matter of Britain and the Arthuriana throughout the 14th and 15th centuries. We will have to wait until sir Thomas Malory’s work, Le Morte d’Arthur, for a new Arthurian boom/Arthurian wave. By gathering together the versions of the Vulgate, of the Post-Vulgate and of the Chrétien novels, sir Thomas Mallory created a work that would become THE defining story of the Arthurian legend, and the main reference for all posterior Arthurian authors. Lord Tennyson’s Idylls of the King, T. H. White’s The Once and Future King (later adapted into the famous Disney movie The Sword in the Stone), Mark Twain’s A Connecticut Yankee in King Arthur’s Court, Stenbeck’s The Acts of King Arthur and His Noble Knights... They all were inspired by and taking their Arthurian vision from Le Morte d’Arthur. 

5) Sara Doke concludes her chronology by a handful of more modern works, that truly turn the Arthurian myth into moder “fantasy”. Marion Zimmer Bradley’s The Mists of Avalon. Mary Stewart’s Arthurian novels (The Crystal Cave, The Hollow Hills, The Last Enchantment, The Wicked Day). Bernard Cornwell’s The Warlord Chronicles. Lawhead’s The Pendragon Cycle. Doke also mentions French authors that English-speaker might not be accustomed to: René Barjavel with his L’Enchanteur (The Enchanter), Michel Rio with his Merlin et Morgane, Jean Markale with his Le Cycle du Graal, Jean-Louis Fetjaine with his Le Pas de Merlin followed by Brocéliande... 

To conclude this post, we leave Sara Doke for another article, this time written by P.J.G. Mergey, who is rather focused on movies based on the Arthurian myth. He does mention a non-movie piece, Wagner’s opera Parsifal, to prove that the Arthurian texts have always been producing visual entertainment. In terms of actual movies, Mergey mentions 2004′s King Arthur, John Boorman’s Excalibur, 2007′s The Last Legion and 1995′s The First Knight.  As he speaks of The Last Legion, he mentions that the mystery of the “missing legion” was notably brought to the public by Rosemary Sutcliff’s The Eagle of the Ninth, a historical novel that was adapted two times nto a movies - in 2011, by the same name, and in 2010 as “Centurion”. 

Two last mentions. Talking about the character of Mebd/Mabd, Mergey mentions an old Irish epic I am not sure I talked about before: Tain Bo Cuailnge, The Cattle Raid of Cooley, of which Mebd/Mabd is one of the main characters.

And finally - since this is a French article talking about king Arthur, one work HAD to be evoked. Kaamelott. The British have their Arthurian parody in the shape of Monty Python’s Holy Grail, we have Kaamelott. Kaamelott started out in 2005 as a humoristic shortcom depicting the daily life of king Arthur and the characters of the Arthurian legend, who are either completely logical and reasonable characters faced with the inherent craziness and absurdity of the Arthuriana, or actually incompetent, flawed and caricatural characters a far cry from their original fictional selves. On top of deconstructing the myth itself, the humor of the series was also historical, since it replaces the king’s life in the context of the crumbling of the Roman Empire and the invasions of the barbarians from the north. This series’ massive success led to it having six full seasons, that slowly went from short comedy skits to actual full, serious, dramatic television episodes - and its fame hasn’t stopped, since very recently a trilogy of movies meant to conclude the series was announced, with the first movie being released in 2021. 

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A fantasy read-list: Intro

This read-list won’t just cover “fantasy” in the modern sense of the world, as the post-Tolkien books, oh no.

This list will cover “fantasy” in the broader and larger sense, as an historical current of supernatural fiction, going from its most ancient roots all the way to Tolkien! It will be a BIG read-list

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To Kill a Mockingbird and True Grit Top List of Must-Read Novels - AARP

To Kill a Mockingbird and True Grit Top List of Must-Read Novels – AARP

To Kill a Mockingbird and True Grit Top List of Must-Read Novels – AARP.

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