The Book of Romance
by Anonymous
- Language
- EN
- Format
- EPUB
- Size
- 4.9 MB
Description
This collection is a compilation of medieval romances and Arthurian legends, presented in a narrative and poetic form. It includes stories centered on legendary figures such as King Arthur, Guinevere, and Merlin, emphasizing themes of chivalry, adventure, and romantic love. The work is accompanied by illustrations by H. J. Ford and was produced around the early 20th century. The preface reflects on the origins of romances, describing them as adult fairy tales that have arisen across various cultures, and sets a contemplative tone regarding their timeless nature. The texts encompass a range of legendary narratives that exemplify medieval ideals of heroism and courtly love, often blending myth and history.
As a collection, it serves as an anthology of stories rooted in the tradition of medieval storytelling, with emphasis on adventure, moral lessons, and the romantic ideals associated with the chivalric code. The work was assembled during a period when interest in romantic and legendary literature was revived for a broader readership, accompanied by illustrations that enhance the storytelling.
As a collection, it serves as an anthology of stories rooted in the tradition of medieval storytelling, with emphasis on adventure, moral lessons, and the romantic ideals associated with the chivalric code. The work was assembled during a period when interest in romantic and legendary literature was revived for a broader readership, accompanied by illustrations that enhance the storytelling.
From the opening pages
It is to be supposed that children do not read Prefaces; these are Bluebeard's rooms, which they are not curious to unlock. A few words may therefore be said about the Romances contained in this book. In the editor's opinion, romances are only fairy tales grown up. The whole mass of the plot and incident of romance was invented by nobody knows who, nobody knows when, nobody knows where. Almost every people has the Cinderella story, with all sorts of variations: a boy hero in place of a girl heroine, a beast in place of a fairy godmother, and so on. The Zuñis, an agricultural tribe of New Mexico, have a version in which the moral turns out to be against poor Cinderella, who comes to an ill end. The Red Indians have the tale of Orpheus and Eurydice, told in a very touching shape, but without the music. On the other hand, the negroes in the States have the Orpheus tale, adapted to plantation life, in a form which is certainly borrowed from Europeans. This version was sent to me some years ago, by Mr. Barnet Phillips, Brooklyn, New York, and I give it here for its curiosity. If the proper names, Jim Orpus and Dicey, had not been given, we might not feel absolutely certain that the story was borrowed. It is a good example of adaptation from the heroic age of Greece to the servile age of Africans. Dicey and Orpus Dat war eber so long ago, 'cause me granmammy tell me so. It h'aint no white-folks yarn—no Sah. Gall she war call Dicey, an' she war borned on de plantation. Whar Jim Orpus kum from, granmammy she disremember. He war a boss-fiddler, he war, an' jus' that powerful, dat when de mules in de cotton field listen to um, dey no budge in de furrer. Orpus he neber want no mess of fish, ketched wid a angle. He just take him fiddle an' fool along de branch, an' play a tune, an' up dey comes, an' he cotch 'em in he hans. He war mighty sot on Dicey, an' dey war married all proper an' reg'lar. Hit war so long ago, dat de railroad war a bran-new spick an' span ting in dose days. Dicey once she lounge 'round de track, 'cause she tink she hear Orpus a fiddlin' in de fur-fur-away. Onyways de hengine smash…
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