Ballads of Romance and Chivalry


Book Description

Reproduction of the original: Ballads of Romance and Chivalry by Frank Sidgwick







Medieval Ballads


Book Description

Morgan's critical introduction establishes a social and historical context for the ballads of chivalry and romance and a general framework for their reading.




The Ballad of Sir Dinadan


Book Description

The author of Parsifal’s Page “interweaves action with sophisticated, wry humor and deft characterization to bring to life yet another medieval tale” (VOYA). Young Dinadan has no wish to joust or quest or save damsels in distress or do any of the knightly things expected of him. He’d rather be a minstrel, playing his rebec and writing ballads. But he was born to be a knight, and knights, of course, have adventures. So after his father forces his knighthood upon him, he wanders toward King Arthur’s court, in the company of a misguided young Welsh lad named Culloch. There Dinadan meets Sir Kai and Sir Bedivere, and the three find themselves accompanying Culloch on the worst sort of quest. Along the way, Dinadan writes his own ballads, singing of honor, bravery, loyalty, and courtly love—and becomes a player in the pathetic love story of Tristram and Iseult. He meets the Moorish knight Palomides, the clever but often exasperating Lady Brangienne, and an elvin musician named Sylvanus, along with an unusual collection of recreant knights and dimwitted defenders of chivalry. He learns that while minstrels sing of spectacular heroic deeds, honor is often found in simpler, quieter ways. “The humor ranges from subtle irony to scenes of pure comedy . . . a lighthearted introduction to the period.” —School Library Journal (starred review) “Morris creates in Dinadan one of his most appealing protagonists. Written in accessible prose and laced with occasional magic, the novel moves at a quick pace and showcases a continually maturing hero.” —The Horn Book “A witty tale of adventure and reflection.” —Booklist







Savage Economy


Book Description

In Savage Economy: The Returns of Middle English Romance, Walter Wadiak traces the evolution of the medieval English romance from its thirteenth-century origins to 1500, and from a genre that affirmed aristocratic identity to one that appealed more broadly to an array of late medieval communities. Essential to this literary evolution is the concept and practice of “noble” gift-giving, which binds together knights and commoners in ways that both echo and displace the notorious violence of many of these stories. Wadiak begins with the assumption that “romance” names a particular kind of chivalric fantasy to which violence is central, just as violence was instrumental to the formation and identity of the medieval warrior aristocracy. A traditional view is that the violence of romance stories is an expression of aristocratic privilege wielded by a military caste in its relations with one another as well as with those lower on the social scale. In this sense, violence is the aristocratic gift that underwrites and reaffirms the feudal power of a privileged group, with the noble gift performing the symbolic violence on which romance depends in order to present itself as both a coded threat and an expression of chivalric values. Well-known examples of romance in Middle English, such as Sir Gawain and the Green Knight and Chaucer’s Knight’s Tale, are considered alongside more “popular” examples of the genre to demonstrate a surprising continuity of function across a range of social contexts. Wadiak charts a trajectory from violence aimed directly at securing feudal domination to the subtler and more diffuse modes of coercion that later English romances explore. Ultimately, this is a book about the ways in which romance lives on as an idea, even as the genre itself begins to lose ground at the close of the Middle Ages.







Figures of the Imagination


Book Description

This new study of the intersection of romance novels with vocal music records a society on the cusp of modernisation, with a printing industry emerging to serve people’s growing appetites for entertainment amidst their changing views of religion and the occult. No mere diversion, fiction was integral to musical culture and together both art forms reveal key intellectual currents that circulated in the early nineteenth-century British home and were shared by many consumers. Roger Hansford explores relationships between music produced in the early 1800s for domestic consumption and the fictional genre of romance, offering a new view of romanticism in British print culture. He surveys romance novels by Ann Radcliffe, Matthew Lewis, Sir Walter Scott, James Hogg, Edward Bulwer and Charles Kingsley in the period 1790–1850, interrogating the ways that music served to create mood and atmosphere, enlivened social scenes and contributed to plot developments. He explores the connections between musical scenes in romance fiction and the domestic song literature, treating both types of source and their intersection as examples of material culture. Hansford’s intersectional reading revolves around a series of imaginative figures – including the minstrel, fairies, mermaids, ghosts, and witches, and Christians engaged both in virtue and vice – the identities of which remained consistent as influence passed between the art forms. While romance authors quoted song lyrics and included musical descriptions and characters, their novels recorded and modelled the performance of songs by the middle and upper classes, influencing the work of composers and the actions of performers who read romance fiction.




Wordsworth's Poetry, 1815-1845


Book Description

The later poetry of William Wordsworth, popular in his lifetime and influential on the Victorians, has, with a few exceptions, received little attention from contemporary literary critics. In Wordsworth's Poetry, 1815-1845, Tim Fulford argues that the later work reveals a mature poet far more varied and surprising than is often acknowledged. Examining the most characteristic poems in their historical contexts, he shows Wordsworth probing the experiences and perspectives of later life and innovating formally and stylistically. He demonstrates how Wordsworth modified his writing in light of conversations with younger poets and learned to acknowledge his debt to women in ways he could not as a young man. The older Wordsworth emerges in Fulford's depiction as a love poet of companionate tenderness rather than passionate lament. He also appears as a political poet—bitter at capitalist exploitation and at a society in which vanity is rewarded while poverty is blamed. Most notably, he stands out as a history poet more probing and more clear-sighted than any of his time in his understanding of the responsibilities and temptations of all who try to memorialize the past.