Sources of fantasy

Though the fantasy genre in its modern sense is less than two centuries old, its sources have a long and distinguished history. Elements of the supernatural and the fantastic were an element of literature from its beginning.

In "The Encyclopedia of Fantasy", John Clute and John Grant separated the concept of fantasy as such from that of taproot texts, works that are sources for fantasy, but not themselves fantasy.John Grant and John Clute, "The Encyclopedia of Fantasy", "Taproot texts", p 921 ISBN 0-312-19869-8 ]

Ancient Near East

The "Epic of Gilgamesh" was written over generations following the supposed reign of King Gilgamesh, and is seen as a mythologized version of his life. This figure is sometimes an influence and, more rarely, sometimes a figure in modern fantasy.John Grant and John Clute, "The Encyclopedia of Fantasy", "Gilgamesh", p 410 ISBN 0-312-19869-8 ]

Greco-Roman

Classical mythology is replete with fantastical stories and characters, the best known (and perhaps the most relevant to modern fantasy) being the works of Homer.

The philosophy of Plato has had great influence on the fantasy genre. In the Christian Platonic tradition, the reality of other worlds, and an overarching structure of great metaphysical and moral importance, has lent substance to the fantasy worlds of modern works. [Stephen Prickett, "Victorian Fantasy" p 229 ISBN 0-253-17461-9]

East Asia

The figures of Chinese dragons were influential on the modern fantasy use of the dragon, tempering the greedy, thoroughly evil, even diabolical Western dragon; many modern fantasy dragons are humane and wise.Fact|date=February 2008

Chinese traditions have been particularly influential in the vein of fantasy known as Chinoiserie, including such writers as Ernest Bramah and Barry Hughart. [John Grant and John Clute, The Encyclopedia of Fantasy, "Chinoiserie", p 189 ISBN 0-312-19869-8]

Taoist beliefs about Nei Jin and its influence on martial arts have been a major influence on Wuxia, a sub-genre of the martial arts film that is sometimes fantasy, when the practice of wuxia is used fictitiously to achieve super-human feats, as in "Crouching Tiger, Hidden Dragon". [Eric Yin, [http://www.heroic-cinema.com/eric/xia.html "A Definition of Wuxia and Xia"] ]

Islamic Middle East

The most well known fiction from the Islamic world was "The Book of One Thousand and One Nights (Arabian Nights)", which was a compilation of many earlier folk tales. The epic took form in the tenth century and reached its final form by the fourteenth century; the number and type of tales have varied from one manuscript to another. John Grant and John Clute, "The Encyclopedia of Fantasy", "Arabian fantasy", p 51 ISBN 0-312-19869-8] All Arabian fairy tales were often called "Arabian Nights" when translated into English, regardless of whether they appeared in "The Book of One Thousand and One Nights", in any version, and a number of tales are known in Europe as "Arabian Nights" despite existing in no Arabic manuscript.

This epic has been influential in the West since it was translated in the 18th century, first by Antoine Galland. [L. Sprague de Camp, "Literary Swordsmen and Sorcerers: The Makers of Heroic Fantasy", p 10 ISBN 0-87054-076-9] Many imitations were written, especially in France.John Grant and John Clute, "The Encyclopedia of Fantasy", "Arabian fantasy", p 52 ISBN 0-312-19869-8] Various characters from this epic have themselves become cultural icons in Western culture, such as Aladdin, Sinbad and Ali Baba. Part of its popularity may have sprung from the increasing historical and geographical knowledge, so that places of which little was known and so marvels were plausible had to be set further "long ago" or farther "far away"; this is a process that continue, and finally culminate in the fantasy world having little connection, if any, to actual times and places.

A number of elements from Persian and Arabian mythology are now common in modern fantasy, such as genies, bahamuts, magic carpets, magic lamps, etc. When L. Frank Baum proposed writing a modern fairy tale that banished stereotypical elements, he included the genie as well as the dwarf and the fairy as stereotypes to go. [James Thurber, "The Wizard of Chitenango", p 64 "Fantasists on Fantasy" editted by Robert H. Boyer and Kenneth J. Zahorski, ISBN 0-380-86553-X]

The "Shahnameh", the national epic of Iran, is a mythical and heroic retelling of Persian history. "Amir Arsalan" was also a popular mythical Persian story, which has influenced some modern works of fantasy fiction, such as "The Heroic Legend of Arslan".

Medieval Europe

Medieval European sources of fantasy occurred primarily in epic poetry and in the Fornaldarsagas, Norse and Icelandic sagas, both of which are based on ancient oral tradition. The influence of these works on the German Romantics, William Morris, and J. R. R. Tolkien means that their influence on later fantasy has been large.John Grant and John Clute, "The Encyclopedia of Fantasy", "Nordic fantasy", p 692 ISBN 0-312-19869-8 ]

Anglo-Saxon

"Beowulf" is among the best known of the Nordic tales in the English speaking world, and has had deep influence on the fantasy genre; although it was unknown for centuries and so not developed in medieval legend and romance, several fantasy works have retold the tale, such as John Champlin Gardner, Jr.
John Gardner's "Grendel". [John Grant and John Clute, "The Encyclopedia of Fantasy", "Beowulf", p 107 ISBN 0-312-19869-8 ]

Norse

Norse mythology, as found in the Elder Edda and the Younger Edda, includes such figures as Odin and his fellow Aesir, and dwarves, elves, dragons, and giants. [John Grant and John Clute, "The Encyclopedia of Fantasy", "Nordic fantasy", p 691 ISBN 0-312-19869-8 ] These elements have been directly imported into various fantasy works, and have deeply influenced others, both on their own and through their influence on Nordic sagas, Romanticism, and early fantasy writers.

The Fornaldarsagas, literally "tales of times past", or "Legendary sagas", occasionally drew upon these older myths for fantasic elements. Such works as "Grettis saga" carried on that tradition; the heroes often embark on dangerous quests where they fight the forces of evil, dragons, witchkings, barrow-wights, and rescue fair maidens. [John Grant and John Clute, "The Encyclopedia of Fantasy", "Saga", p 831 ISBN 0-312-19869-8 ] More historical sagas, such as "Völsunga saga" and the "Nibelungenlied", feature conflicts over thrones and dynasties that also reflect many motifs commonly found in epic fantasy. The starting point of the fornaldarsagas' influence on the creation of the Fantasy genre is the publication, in 1825, of the most famous Swedish literary work "Frithjof's saga", which was based on the "Friðþjófs saga ins frœkna", and it became an instant success in England and Germany. It is said to have been translated twenty-two times into English, twenty times into German, and once at least into every European language, 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 is considerable, and can perhaps not be overstated.

Celtic

Celtic folklore and legend has been an inspiration for many fantasy works. The separate folklore of Ireland, Wales, and Scotland has sometimes been used indiscriminately for "Celtic" fantasy, sometimes with great effect; other writers have distinguished to use a single source.John Grant and John Clute, "The Encyclopedia of Fantasy", "Celtic fantasy", p 275 ISBN 0-312-19869-8]

The Welsh tradition has been particularly influential, owing to its connection to King Arthur and its collection in a single work, the epic Mabinogion. One influential retelling of this was the fantasy work of Evangeline Walton: "The Island of the Mighty", "The Children of Llyr", "The Song of Rhiannon", and "Prince of Annwn". A notable amount of fiction has been written in the area of Celtic fantasy. [Michael Moorcock, "Wizardry & Wild Romance: A Study of Epic Fantasy" p 101 ISBN 1-932265-07-4]

The Irish Ulster Cycle and Fenian Cycle have also been plentifully mined for fantasy.

Scottish tradition is less used, perhaps because of the spurious nature of the Ossian cycle, a nineteenth century fraud claiming to have much older sources.

Its greatest influence was, however, indirect. Celtic folklore and mythology provided a major source for the Arthurian cycle of chivalric romance: the Matter of Britain. Although the subject matter was heavily reworked by the authors, these romances developed marvels until they became independent of the original folklore and fictional, an important stage in the development of fantasy. [Colin Manlove, "Christian Fantasy: from 1200 to the Present" p 12 ISBN 0-268-00790-X]

Finnish

The Finnish epic, the Kalevala, although not published until the 19th century, is compiled from oral tradition dating back to this period, and perhaps even earlier.

J. R. R. Tolkien cited it, with the Finnish language he learned from it, as a major inspiration behind the Simarillion. [Tom Shippley, "The Road to Middle-earth", p 242-3, ISBN 0-628-25760-8 ]

Renaissance

During the Renaissance, Giovanni Francesco Straparola wrote and published "The Facetious Nights of Straparola", a collection of stories, many of which are literary fairy tales Giambattista Basile wrote and published the "Pentamerone", a collection of literary fairy tales, the first collection of stories to contain solely the stories later to be known as fairy tales. Both of these works includes the oldest recorded form of many well-known (and more obscure) European fairy tales. [Steven Swann Jones, "The Fairy Tale: The Magic Mirror of Imagination", Twayne Publishers, New York, 1995, ISBN 0-8057-0950-9, p38] This was the beginning of a tradition that would both influence the fantasy genre and be incorporated in it, as many works of fairytale fantasy appear to this day. [L. Sprague de Camp, "Literary Swordsmen and Sorcerers: The Makers of Heroic Fantasy", p 11 ISBN 0-87054-076-9]

Although witchcraft and wizardry were both believed to be actual at the time, such motifs as the fairies in William Shakespeare's "A Midsummer Night's Dream", the Weird Sisters in "Macbeth" and Prospero in "The Tempest" (or Doctor Faustus in Christopher Marlowe's play) would be deeply influential on later works of fantasy.

In a work on alchemy in the 16th century, Paracelsus identified four types of beings with the four elements of alchemy: gnomes, earth elementals; undines, water elementals; sylphs, air elementals; and salamanders, fire elementals. [Carole B. Silver, "Strange and Secret Peoples: Fairies and Victorian Consciousness", p 38 ISBN 0-19-512100-6] Most of these beings are found in folklore as well as alchemy; their names are often used interchangeably with similar beings from folklore. [C.S. Lewis, "The Discarded Image", p135 ISBN 0-512-47735-2] However, as elementals, they are often used in fantasy works as personifications of the forces of nature. [John Grant and John Clute, "The Encyclopedia of Fantasy", "Elemental" p 313-4, ISBN 0-312-19869-8]

Romanticism

Romanticism, a movement of the late eighteenth and early nineteenth century, was a dramatic reaction to Classicism, challenging the priority of religion and promoting the importance of imagination. Its success in rehabiliting imagination was of fundamental importance to the evolution of fantasy, and its interest in medieval romances providing many motifs to modern fantasy. [John Grant and John Clute, "The Encyclopedia of Fantasy", "Romanticism", p 821 ISBN 0-312-19869-8]

In the later part of the Romantic tradition, in reaction to the spirit of the Enlightenment, folklorists collected folktales, epic poems, and ballads, and brought them out in printed form. The Brothers Grimm were inspired in their collection, "Grimm's Fairy Tales", by the movement of German Romanticism. Many other collectors were inspired by the Grimms and the similar sentiments. Frequently their motives stemmed not merely from Romanticism, but from Romantic nationalism, in that many were inspired to save their own country's folklore: sometimes, as in the "Kalevala", they compiled existing folklore into an epic to match other nation's; sometimes, as in "Ossian", they fabricated folklore that should have been there. These works, whether fairy tale, ballads, or folk epics, were a major source for later fantasy works. [Michael Moorcock, "Wizardry & Wild Romance: A Study of Epic Fantasy" p 35 ISBN 1-932265-07-4]

Despite the nationalistic elements confusing the collections, this movement not only preserved many instances of the folktales that involved magic and other fantastical elements, it provided a major source for later fantasy. [Philip Martin, "The Writer's Guide of Fantasy Literature: From Dragon's Liar to Hero's Quest", pp. 38-42, ISBN 0-871116-195-8.] Indeed, the literary fairy tale developed so smoothly into fantasy that many later works (such as Max Beerbohm's "The Happy Hypocrite" and George MacDonald's "Phantastes") that would now be called fantasies were called fairy tales at the time they written. [W.R. Irwin, "The Game of the Impossible", p 92-3, University of Illinois Press, Urbana Chicago London, 1976] J. R. R. Tolkien's seminal essay on fantasy writing was titled "On Fairy Stories."

"Ossian" and the ballads also provided an influence to fantasy indirectly, through their influence on Sir Walter Scott, who began the genre of historical fiction. [Michael Moorcock, "Wizardry & Wild Romance: A Study of Epic Fantasy" p 79 ISBN 1-932265-07-4] Very few of his works contain fantastic elements; in most, the appearance of such is explained away, [John Grant and John Clute, "The Encyclopedia of Fantasy", "Scott, (Sir) Walter", p 845 ISBN 0-312-19869-8] but in its themes of adventure in a strange society, this led to the adventures set in foreign lands, by H. Rider Haggard and Edgar Rice Burroughs, [Michael Moorcock, "Wizardry & Wild Romance: A Study of Epic Fantasy" p 80-1 ISBN 1-932265-07-4] Although Burrough's works fall in the area of science fiction because of their (often thin) justifications for their marvels, [John Grant and John Clute, "The Encyclopedia of Fantasy", "Burroughs, Edgar Rice", p 152 ISBN 0-312-19869-8] Haggard's included many fantastic elements. [John Grant and John Clute, "The Encyclopedia of Fantasy", "Haggard, H. Rider ", p 444-5 ISBN 0-312-19869-8] The works of Alexandre Dumas, père, romantic historical fiction, contained many fantasy tropes in their realistic settings. [John Grant and John Clute, "The Encyclopedia of Fantasy", "Dumas, Alexandre père", p 300 ISBN 0-312-19869-8] All of these authors influenced fantasy for the plots, characters and landscapes used -- particularly in the sword and sorcery genre, with such writers as Robert E. Howard. [Michael Moorcock, "Wizardry & Wild Romance: A Study of Epic Fantasy" p 82 ISBN 1-932265-07-4]

ee also

*History of fantasy

References