Historical fantasy is a category offantasy andgenre ofhistorical fiction that incorporates fantastic elements (such asmagic) into a more "realistic" narrative.[1] There is much crossover with other subgenres of fantasy; those classed asArthurian,Celtic, orDark Ages could just as easily be placed in historical fantasy.[2][3] Stories fitting this classification generally take place prior to the 20th century.
Films of this genre may have plots set inbiblical times orclassical antiquity. They often have plots based very loosely onmythology orlegends of Greek-Roman history, or the surrounding cultures of the same era.
Historical fantasy usually takes one of three common approaches:[4]
Science fiction historianBrian Stableford has defined "historical fantasy" as "a term applied to fantasies in which the actual history of the primary world is conscientiously reproduced, save for limited infusions of workingmagic located within a "secret history."[3]
All three approaches have overlapped in the subgenre ofsteampunk commonly associated withscience fiction literature. However, not all steampunk fantasy belongs to the historical fantasy subgenre.
AfterAntoine Galland's translation ofOne Thousand and One Nights became popular in Europe, many writers wrote fantasy based on Galland's romantic image of the Middle East and North Africa. Early examples included the satirical tales ofAnthony Hamilton, andZadig byVoltaire.[8] English-language work in the Arabian fantasy genre includesRasselas (1759) bySamuel Johnson,The Tales of the Genii byJames Ridley (1764),Vathek byWilliam Thomas Beckford (1786),[9]George Meredith'sThe Shaving of Shagpat (1856),Khaled (1891) byF. Marion Crawford, andJames Elroy Flecker'sHassan (1922).[10]
In the late 1970s, interest in the subgenre revived withHasan (1977) byPiers Anthony. This was followed by several other novels reworking Arabian legend: themetafictionalThe Arabian Nightmare (1983) byRobert Irwin,Diana Wynne Jones' children's novelCastle in the Air (1990),Tom Holt's humorousDjinn Rummy (1995) andHilari Bell'sFall of a Kingdom.[10]
Celtic fantasy has links to historical fantasy andCeltichistorical fiction. Celtic historical fantasy includes such works asKatharine Kerr'sDeverry series, orTeresa Edgerton'sGreen Lion trilogy. These works are (loosely) based on ancient Celtic cultures. The separate folklore ofIreland,Wales, andScotland has sometimes been used indiscriminately, sometimes with great effect, as in Paul Hazel'sFinnbranch trilogy,Yearwood (1980),Undersea, (1982) andWinterking (1985);[11] other writers have distinguished between the three to use a single source.[12]
Notable works inspired byIrish mythology includedJames Stephens'The Crock of Gold (1912),Lord Dunsany'sThe Curse of the Wise Woman (1933),Flann O'Brien's humorousAt Swim-Two-Birds (1939),Pat O'Shea'sThe Hounds of the Morrigan (1985) and novels byPeter Tremayne,Morgan Llywelyn andGregory Frost.[12]
The Welsh tradition has been particularly influential, which has to do with its connection toKing Arthur and its collection in a single work, theepicMabinogion.[12] One influential retelling of this was the fantasy work ofEvangeline Walton:The Island of the Mighty,The Children of Llyr,The Song of Rhiannon, andPrince of Annwn. A notable amount of fiction has been written in the Welsh area of Celtic fantasy;[13] other notable authors of Welsh Celtic fantasy includeKenneth Morris,John Cowper Powys,Vaughan Wilkins,Lloyd Alexander,Alan Garner,[14] andJenny Nimmo.[15]
Scottish Celtic fantasy is less common, butJames Hogg,John Francis Campbell (The Celtic Dragon Myth, 1911),Fiona MacLeod,William Sharp,George Mackay Brown andDeborah Turner Harris all wrote material based on Scottish myths and legends.[14]
Fantasy based on theBreton folklore branch of Celtic mythology does not often appear in the English language. However, several noted writers have utilized such material;Robert W. Chambers'The Demoiselle d'Ys (fromThe King in Yellow, 1895) andA. Merritt inCreep, Shadow! (1934) both drew on the Breton legend of the lost city ofYs,[16] while "The Lay of Aotrou and Itroun" (1930) byJ. R. R. Tolkien is a narrative poem based on the Breton legend of theCorrigan.[17]
Classical fantasy is a subgenre of historical fantasy based on theGreek andRoman myths. Symbolism from classical mythology is enormously influential on Western culture, but it was not until the 19th century that it was used in the context of literary fantasy.Richard Garnett (The Twilight of the Gods and Other Tales, 1888, revised 1903) andJohn Kendrick Bangs (Olympian Nights, 1902) used the Greek myths for satirical purposes.[18]
20th-century writers who made extensive use of the subgenre includedJohn Erksine, who continued the satirical tradition of classical fantasy in such works asThe Private Life of Helen of Troy (1925) andVenus, the Lonely Goddess (1949).Eden Phillpotts used Greek myths to make philosophical points in such fantasies asPan and the Twins (1922) andCirce's Island (1925).[18]Jack Williamson'sThe Reign of Wizardry (Unknown Worlds, 1940) is an adventure story based on the legend ofTheseus.[19] Several ofThomas Burnett Swann's novels draw on Greek and Roman myth, includingDay of the Minotaur (1966).[20]The Firebrand (1986) byMarion Zimmer Bradley andOlympic Games (2004) byLeslie What are both classical fantasy tales withfeminist undertones.[18]Guy Gavriel Kay who has made a career out of historical fantasy, set his two novels inThe Sarantine Mosaic series in a parallel world heavily mirroringJustinian I's Byzantium. Assaph Mehr'sStories of Togas, Daggers, and Magic reimagine a world where Roman beliefs about magic are true, and has been described byHarry Turtledove as "Rome as the Romans themselves imagined it to be".[21]
Fantasy of manners, aka "mannerpunk," is a subgenre that takes place within a strict, elaborate, and hierarchical social structure. Inspired by thesocial novels and thecomedy of manners of such authors asJane Austen andOscar Wilde, fantasy of manners involves class struggles among genteel characters in urban environments, and while duels are permitted, witty repartee often substitutes for physical conflict. Examples of fantasy of manners includeSwordspoint byEllen Kushner andJonathan Strange & Mr Norrell bySusanna Clarke.
Fantasy steampunk is another subgenre of historical fantasy, generally set in theVictorian orEdwardian eras. Steam technology, mixed withVictorian orGothic-style architecture and technology, is the most widely recognized interpretation of this genre. One of the most popular characteristics of steampunk is the appearance of naked clockwork, rusty gears, and engines. Typically, gunpowder fantasy also includes elements of real-world technology such assteam power, telegraphy, and in some cases early telephones or combustion engines. Some works in this genre are alternate history.
Philip Pullman'sThe Golden Compass is an example of a Fantasy steampunk novel, along withThe Half-Made World byFelix Gilman andThe Anubis Gates byTim Powers.
Gaslamp fantasy is a subgenre to both steampunk and historical fantasy that takes place in an alternative universe based onVictorian orEdwardian eras. However, magic plays a more important role than the era's mechanical technology.
Sometimes called "muskets and magic". Gunpowder fantasy is generally set in a world with technology roughly equivalent toEarly modern Europe (16th through 18th centuries), particularly the latter era. Gunpowder fantasy combines elements of highfantasy (magic, mythical creatures, races like elves, epic scale) with guns like muskets and rifles. It is a relatively new subgenre, but has been picking up popularity. It varies from medieval fantasy by inclusion of gunpowder. It varies from steampunk in that it stays away from the fantastic inventions (airships, machines, etc.) that are common in steampunk. Similar to steampunk, gunpowder fantasy is considered a step below its more popular cousin[citation needed].
Gunpowder fantasy examples include Solomon Kane series(1928–1932) created byRobert E. Howard,Monster Blood Tattoo Series byD. M. Cornish (2006–2010),Fullmetal Alchemist byHiromu Arakawa (2001–2010),Terrarch Tetralogy byWilliam King (2011–), andThe Powder Mage trilogy,Brian McClellan (2013–2015),The Shadow Campaigns (2013–2018) byDjango Wexler.
Medieval fantasy encompasses works where aspects of medieval history such aslegends from theMiddle Ages, and aesthetics such asmedievalisms, overlap withfantasy.[24] According to theGetty Museum, it is contrasted fromfolklore which is set in a "familiar world with stock characters and plots".[24] Subgenres of fantasy such asGothic fiction,sword and sorcery,fairy tales,high fantasy, andlow fantasy, can also overlap with medieval fantasy.[24]
The broad genre of medieval fantasy is common among role-playing games and high fantasy literature. Notable examples of medieval fantasy games the Getty Museum has listed include theLegend of Zelda series (1986-) andDungeons & Dragons (1974).[23][25] Examples of literature listed include theLord of the Rings trilogy (1954-1955) andA Song of Ice and Fire (1996-).[26][27]
Stories set in prehistoric times and depicting the lives of prehistoric people. Prehistoric fantasy examples include theEarth's Children series byJean M. Auel (1980-2011) and theChronicles of Ancient Darkness byMichelle Paver.
Wǔxiá, literally meaning "martial (arts) heroes", is a subgenre of the quasi-fantasy and martial arts genre in literature, television and cinema. Wǔxiá figures prominently in the popular culture of Chinese-speaking areas, and the most important writers have devoted followings.
The wǔxiá genre is a blend of the philosophy of xiá (俠, "honor code", "an ethical person", "a hero"), and China's long history in wǔshù ("kung fu" or "martial arts"). A martial artist who follows the code of xiá is called a swordsman, or xiákè (俠客/侠客, literally "chivalrous guest"). Japan'ssamuraibushidō traditions, England's knightchivalry traditions, and America'sgunslinger Western traditions all share some aspects with China's swordsman xiá traditions. The swordsman, however, need not serve a lord or hold any military power and they are not required to be from an aristocratic class.
Excalibur retrouvera, préservant la pureté de la lignée des Chevaliers.
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