An Exploration in Fantasy -- Part Six: The Draw

I suppose the real question is, "Why does all of this matter?" Of course, that's the real question for so many things, but let's just look at it in relation to fantasy for the moment. Why does it matter? Why should we care about fantasy or where it comes from?

And that could go in all kinds of directions and get all kinds of philosophical, but I want to look at it in relation to the fantasy model itself. You can find the list here.

So... Let's start with kids.

At some point in all but the rarest of childhoods, we all wish we would find out that we were orphans. Our parents suck, and we want to find out that our real parents died when we were babies and these... things... that are raising us are doing it out of some obligation. Basically, we all wish we were Harry Potter. Or Harriet Potter. Or some variation of that. For me, it was Luke Skywalker. For hundreds of years, it was Arthur. Actually, when I was a kid, sometimes, it was still Arthur.

The point is that kids, pretty much all kids, especially when things happen that they don't like, will wish for something that makes them... special. Something that sets them apart. We want some old guy to come along and tell us we're secretly a wizard or a warrior princess to tell us we're the heir to a mighty kingdom that we have to save. Or, you know, we want to get bitten by a magic squirrel and get mutant powers. Or something like that.

The thing is, an awful lot of childhood feels like a descent. Like being trapped in darkness. Some more than others. And we... Well, we don't feel like we know how to get out of it. Often, it's our parents who are the "dark lords." Or some teacher or other. Or the bully that takes our lunch money every day. And fantasy... It helps us get through.

It does, you know. Help us to get through. Many studies have shown that the associations that we form with characters that we admire help us to make our own ways through difficult situations.
-- If Harry could stay true to himself despite what Umbridge did to him, then I can, too.
-- Even though his father tried to kill him, Luke came out of it even stronger. I can, too.
-- Peter Parker didn't let failure defeat him. He learned from it. So can I.
So, yeah, I think it's important to know where fantasy came from. It's the stuff that childhood is made of.

Some of us carry that with us all of our lives, though others outgrow it. Some never discover it.
-- I just want to point out, here, sort of as an aside, some other studies show that reading is one of the main places that we develop empathy. So, although some parents have an attitude of fantasy as being "all that nonsense," it's important to discover the realms of fantasy as a child. It's how learn that even though Edmund betrayed us that we can still forgive him and take him back. --
Tolkien knew the importance of fantasy, even for adults. It's why he created his mythology of Middle Earth. From that standpoint, we owe a lot to Tolkien for making fantasy something more than just fairy tales. Even though he didn't create the fantasy model that authors now use, he really is the Father of Modern Fantasy!

An Exploration in Fantasy -- Part Five: The Source

Imagine you're a kid. Your father is a landowner and a knight. Your older brother is obviously being groomed as the heir, which is normal and natural. He is, actually, a knight in his own right. You, however, are not being trained as a second, a backup, which would also be normal and natural. You're being trained to take care of horses and muck stalls and do the upkeep on your brother's gear, but that's about it. Sure, you'll get to be a squire, but you can tell there's some... difference; you're just not sure what it is. Clearly, your father loves you, and it's not a matter of favoritism; your brother is held just as accountable for wrongs as you are. But there is something... something that sets you apart. Or is that just wishful thinking?

This tournament comes up, and your brother is going to take part. He's even one of the favored knights. But something happens. The morning of the tournament, there's a problem with your brother's sword. He's livid. Stomping around. He demands that you find him a new one. And that's where everything changes...

* * *

Raise your hand if you know where this is going.

From what I can tell, the Arthurian Legend is at the root of modern fantasy. All of the elements are there. Let's look at it along with the initial list.

1. Arthur is not an adult. His age varies from child to teen, but it's clear that he's not an adult.

2. Arthur is an orphan. Soon after being taken from his parents by Merlin, they are killed.

3. Arthur is the child of the king, the first High King of Britain, even if short-lived.

4. Arthur is the child of prophecy, the one destined to draw the sword from the stone and become the True High King that will unite the land.

5. Arthur is mentored by Merlin, the Wizard.

6. "What is your quest?" "The Quest for the Holy Grail!"

7. Arthur's great descent is the affair between Lancelot and Guinevere.

8. Arthur has all of the Knights of the Round Table, many of whom have special skills and talents.

9. The "dark lord" Arthur has to face is his half-sister, Morgan, a sorceress and mother of his child.

10. And, of course, there is no technology.

Not only is fantasy filled with King Arthur stories... Wait, let me list just the ones that I've read, which is nowhere near comprehensive:
1. Le Morte d'Arthur (technically not fantasy, because it's a classic but, if it had been written today, it would be fantasy)
2. The Acts of King Arthur and His Noble Knights (also, technically, not fantasy because it was written by Steinbeck, but if it had been written by anyone else...)
3. The Once and Future King
4. The Pendragon Cycle (possibly the best Arthur series I've ever read)
5. Camulod Chronicles (possibly the second best Arthur series I've ever read and it's done completely from a historical fiction perspective, so it's only fantasy because it's about Arthur)

There may be more, but that's what I know I've read right off the top of my head, and those are just the ones that are actually about Arthur. There's probably no good way of counting up the number of books that make reference to Arthur or Merlin (The House on the Corner for one) or show some kind of direct influence from the Arthurian Mythos (even Lewis' Space Trilogy, and the resemblance of the Sword of Gryffindor to the Sword in the Stone can't be denied). It's possible that the Legend of Arthur is the most pervasive literary influence in Western culture (but it would probably take more study than I've put into it to determine that for certain).

And, yes, even Tolkien has a relationship to Arthur. There's The Fall of Arthur (a poem that Tolkien didn't consider finished so was published posthumously) and his re-telling of Sir Gawain and the Green Knight. And probably more but not more that's been published. That I know of.

Even with Tolkien's interest in Arthur, not much of the Arthurian Model finds its way into The Hobbit or The Lord of the Rings, as has already been discussed. I think Beowulf was a much greater influence on both works than Arthur ever was.

None of which is to say that Tolkien doesn't deserve the title Father of Modern Fantasy. Certainly, he's the one that "created" the genre, and he gave a lot of window dressing to it. The idea of fantastic races in fantasy comes directly from his influence; however, they're not required. Adding elves and leprechauns is like... well, it's like spicing your food. Some people sprinkle on the elf, some shake on some goblins, some keep it plain.

All of which is to say that, even though we can thank Tolkien for ushering in the age of fantasy literature, it's to Arthur that we owe the stories. One little orphan boy who pulled a sword from a stone.

An Exploration in Fantasy -- Part One: The List

Prior to Tolkien, fantasy writing was sparse. At least, what we think of now as fantasy was sparse. Because of that, Tolkien is widely considered the "Father of Modern Fantasy" or, specifically, the "Father of High Fantasy." Along with the title has come the assumption that it was Tolkien who established our model of how fantasy ought to be written, that it was Tolkien who originated the tropes. People, often people who have not read The Lord of the Rings, look at what Tolkien did and ascribe the origins of all that fantasy has become to him.

Now, I love The Lord of the Rings. The Hobbit, as you'll know if you've checked out my "Of Significance..." page on my own StrangePegs blog, is one of the three books that I think everyone should read. And I don't undervalue Tolkien's importance. There would be no fantasy genre as we know it today without him. However, I don't think that we can "blame" Tolkien for today's fantasy tropes. In fact, many of the things we think he did, he did not, in fact, do. No, for the origins of fantasy, we have to look elsewhere.

And we will. But not today. Before we get to that, we need to figure out what are the key elements of fantasy literature, and these tend to hold true whether it's high (epic) fantasy or not.

With that in mind, I've come up with a list. This is my list, mind you, because I couldn't find anything that resembled a definitive list or even lists with many things in common. I'm just going off of the fantasy I've read (which is a lot) and the things I've found in common amongst them.

1. The protagonist (I'm just going to say "hero" from here on out; it's shorter) is not an adult (and usually male).
2. The hero is an orphan (usually both parents are dead, although there is sometime one (usually the mother)).
3. The hero is "special" in some way.
4. There is a prophecy, generally related to the hero.
5. There is an old mentor of some sort, usually a male. (We recognize this character as "the wizard.")
6. There is a quest of some sort involved that only the hero can complete.
7. There is some kind of descent
8. The hero has companions who help him on his journey.
9. There is some sort of "dark lord" who can only be defeated by the hero.
10. There's an absence of technology.

These are the ones that come to mind as being part of the general "fantasy ideal." I could include other things like:
There are other races like elves and leprechauns.
The setting is generally medieval.
Magic of some sort is involved.
But these things seem to me to be decorations for the story, not actually necessary to the functioning of it, so I'm not including them on the list (unless you can convince me otherwise), although I'm sure I'll talk about them as we go along.

Speaking of convincing, I'm not trying to say this is a definitive list, just the list I'm going to work with in looking at the origins of fantasy and, when I say "origins," I actually mean the blueprint that we use as the basis for modern fantasy writing. If you have other things that you feel are essential, please let me know what they are, and I'll look at them.

Oh, and just to be clear, I'm not dealing with any sub-genres like paranormal or vampire or anything like that. Even though those often use these same basic "rules," they have their own twist on them.