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57-432: Lalla Rookh is an Oriental chivalric romance by Irish poet Thomas Moore , first published in 1817. The title is taken from the name of the heroine of the frame tale , the (fictional) daughter of the 17th-century Mughal emperor Aurangzeb . It consists of four narrative poems with the connecting tale in prose. The work was a resounding success, and its popularity gave rise to many ships being named "Lalla Rookh" during

114-469: A quest , and fights and defeats monsters and giants, thereby winning favor with a lady . The Matter of France, most popular early, did not lend itself to the subject of courtly love , but rather dealt with heroic adventure: in The Song of Roland , Roland, though betrothed to Oliver's sister, does not think of her during the course of events. The themes of love were, however, to soon appear, particularly in

171-449: A 1958 Indian Hindi -language romantic-drama film by Akhtar Siraj was based on Moore's poem. The poem, which earned the highest price ever thus far for a poem (£3,000), enhanced Moore's reputation considerably at the time. The popularity of the poem and its subsequent adaptations gave rise to many ships being named Lalla Rookh during the 19th century. Alfred Joseph Woolmer painted "Lalla Rookh" in 1861, depicting Hinda, daughter of

228-512: A Medieval work has also been noted to contains many magical or supernatural references. Drawing from many different sources, some notable allusions include elements of Christianity (an example being the multiple references to the Holy Grail ) as well as elements of Celtic legends. The Medieval romance developed out of the medieval epic, in particular the Matter of France developing out of such tales as

285-718: A magical interlude in Tasso 's Gerusalemme liberata . In the Renaissance , also, the romance genre was bitterly attacked as barbarous and silly by the humanists , who exalted Greek and Latin classics and classical forms, an attack that was not in that century very effective among the common readers. In England, romances continued; heavily rhetorical, they often had complex plots and high sentiment, such as in Robert Greene 's Pandosto (the source for William Shakespeare 's The Winter's Tale ) and Thomas Lodge 's Rosalynde (based on

342-415: A marriage between his daughter Lalla Rookh and the new ruler. Lalla Rookh travels to meet her betrothed, but falls in love with Feramorz, a slave whom her caravan had acquired. Feramorz charms the princess with his ability to compose poetry. The bulk of the work consists of four interpolated tales sung by the poet: "The Veiled Prophet of Khorassan " (loosely based upon the story of Al-Muqanna ), "Paradise and

399-496: A minor thread in the episodic stream of romantic adventures. Some romances, such as Apollonius of Tyre , show classical pagan origins. Tales of the Matter of Rome in particular may be derived from such works as the Alexander Romance . Ovid was used as a source for tales of Jason and Medea, which were cast in romance in a more fairy-tale-like form, probably closer to the older forms than Ovid's rhetoric. It also drew upon

456-424: A new persecutor appeared: a courtier who was rejected by the woman or whose ambition requires her removal, and who accuses her of adultery or high treason, motifs not duplicated in fairy tales. While he never eliminates the mother-in-law, many romances such as Valentine and Orson have later variants that change from the mother-in-law to the courtier, whereas a more recent version never goes back. In Italy there

513-507: A presence. Many early tales had the knight, such as Sir Launfal , meet with fairy ladies, and Huon of Bordeaux is aided by King Oberon , but these fairy characters were transformed, more and more often, into wizards and enchantresses. Morgan le Fay never loses her name, but in Le Morte d'Arthur , she studies magic rather than being inherently magical. Similarly, knights lose magical abilities. Still, fairies never completely vanished from

570-435: A sumptuous oriental setting on the advice of Lord Byron . The work was completed in 1817 while Moore was living in a house in the countryside of Hornsey , Middlesex, and the house was renamed, possibly by Moore himself, after the poem. Lalla Rookh is a fictional daughter of Emperor Aurangzeb; he had no daughter of this name. The aged King of Bukhara has abdicated in favor of his son, which causes an Indian ruler to arrange

627-455: A time, termed scientific romance , and gaslamp fantasy is sometimes termed gaslight romance. Flannery O'Connor , writing of the use of grotesque in fiction, talked of its use in "the modern romance tradition." Lala Rookh Lala Rookh is a 1958 Indian Hindi -language romantic drama film directed by Akhtar Siraj, starring Talat Mahmood and Shyama in lead roles. It is based on Thomas Moore 's 1817 poem Lalla Rookh about

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684-399: Is a marked tendency to emphasize themes of courtly love , such as faithfulness in adversity. From c.  1760 – usually cited as 1764 at the publication of Horace Walpole 's The Castle of Otranto – the connotations of "romance" moved from fantastic and eerie, somewhat Gothic adventure narratives of novelists like Ann Radcliffe 's A Sicilian Romance (1790) or The Romance of

741-529: Is also applicable to romance narratives. Overwhelmingly, these were linked in some way, perhaps only in an opening frame story , with three thematic cycles of tales: these were assembled in imagination at a late date as the " Matter of Rome " (actually centered on the life and deeds of Alexander the Great conflated with the Trojan War ), the " Matter of France " ( Charlemagne and Roland , his principal paladin ) and

798-412: Is an 1892 "dramatic cantata" by Granville Bantock based on one of the tales. It is also the basis of the operas Lalla-Rûkh , festival pageant (1821) by Gaspare Spontini , partly reworked into Nurmahal oder das Rosenfest von Caschmir (1822), Lalla-Roukh by Félicien David (1862), Feramors by Anton Rubinstein (1863), and The Veiled Prophet by Charles Villiers Stanford (1879). One of

855-417: Is considerable. Modern usage of term "romance" usually refer to the romance novel , which is a subgenre that focuses on the relationship and romantic love between two people; these novels must have an "emotionally satisfying and optimistic ending." Despite the popularity of this popular meaning of Romance, other works are still referred to as romances because of their uses of other elements descended from

912-547: Is described in medieval terminology. When Priam sends Paris to Greece in a 14th-century work, Priam is dressed in the mold of Charlemagne, and Paris is dressed demurely, but in Greece, he adopts the flashier style, with multicolored clothing and fashionable shoes, cut in lattice-work—signs of a seducer in the era. Historical figures reappeared, reworked, in romance. The entire Matter of France derived from known figures, and suffered somewhat because their descendants had an interest in

969-476: Is rescued by another woman and a tournament that he wins. Other examples of Italian (Tuscan) poetry tales are Antonio Pucci's literature: Gismirante, Il Brutto di Bretagna or Brito di Bretagna ("The ugly knight of Britain") and Madonna Lionessa ("Lioness Lady"). Another work of a second anonymous Italian author that is worth mentioning is Istoria di Tre Giovani Disperati e di Tre Fate ("Story of three desperate boys and three fairies"). The Arthurian cycle as

1026-477: Is said of the character Rosamond Vincy, "Her favorite poem was 'Lalla Rookh'" (Chapter 16). Romance (heroic literature) Popular literature also drew on themes of romance, but with ironic , satiric , or burlesque intent. Romances reworked legends , fairy tales , and history to suit the readers' and hearers' tastes, but by c.  1600 they were out of fashion, and Miguel de Cervantes famously burlesqued them in his novel Don Quixote . Still,

1083-466: Is so obsessed by chivalric romances that he seeks to emulate their various heroes.) Hudibras also lampoons the faded conventions of chivalrous romance, from an ironic, consciously realistic viewpoint. Some of the magical and exotic atmosphere of Romance informed tragedies for the stage, such as John Dryden 's collaborative The Indian Queen (1664) as well as Restoration spectaculars and opera seria , such as Handel 's Rinaldo (1711), based on

1140-406: Is the story called Il Bel Gherardino . It is the most ancient prototype of an Italian singing fairy tale by an anonymous Tuscan author. It tells the story of a young Italian knight, depleted for its "magnanimitas", who wins the love of a fairy. When he loses this love because he does not comply with her conditions, Gherardino reconquers his lady after a series of labours, including the prison where he

1197-557: The Chanson de Geste , with intermediate forms where the feudal bonds of loyalty had giants, or a magical horn, added to the plot. The epics of Charlemagne , unlike such ones as Beowulf , already had feudalism rather than the tribal loyalties; this was to continue in romances. The romance form is distinguished from the earlier epics of the Middle Ages by the changes of the 12th century, which introduced courtly and chivalrous themes into

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1254-666: The Eastern Roman Empire (Byzantium) – including their love affairs – and where a predominantly oral tradition which survived in the Balkans and Anatolia until modern times. This genre may have intermingled with its Western counterparts during the long occupation of Byzantine territories by French and Italian knights after the 4th crusade. This is suggested by later works in the Greek language which show influences from both traditions. In later romances, particularly those of French origin, there

1311-735: The Emir of Arabia, in a tower overlooking the Persian Gulf , based on the story called "The Fire-Worshippers" in the poem. It is now housed in the Leicester Museum & Art Gallery . It is also credited with having made Kashmir (spelt Cashmere in the poem) "a household term in Anglophone societies", conveying the idea that it was a kind of paradise (an old idea going back to Hindu and Buddhist texts in Sanskrit . Mystic Order of Veiled Prophets of

1368-576: The modern image of "medieval" is more influenced by the romance than by any other medieval genre, and the word medieval evokes knights, damsels in distress , dragons , and other romantic tropes . Originally, romance literature was written in Old French (including Anglo-Norman ), Old Occitan , and Early Franco-Provençal , and later in Old Portuguese , Old Spanish , Middle English , Old Italian (Sicilian poetry), and Middle High German . During

1425-571: The " Matter of Britain " (the lives and deeds of King Arthur and the Knights of the Round Table , within which was incorporated the quest for the Holy Grail ); medieval authors explicitly described these as comprising all romances. The three "matters" were first described in the 12th century by French poet Jean Bodel , whose epic Chanson des Saisnes  [ fr ] ("Song of the Saxons") contains

1482-610: The 19th century. It also played an instrumental role in making Kashmir (spelled as Cashmere in the poem) a household name in the English-speaking world . The poem remains one of the great works of Oriental poetry, and has been regularly adapted into films and other media. The name Lalla Rookh or Lala-Rukh ( Persian : لاله رخ laleh rox or rukh ) means "tulip-cheeked" and is an endearment frequently used in Persian poetry. Lalla Rookh has also been translated as "rosy-cheeked"; however,

1539-618: The Dane (a translation of the anonymous AN Lai d'Haveloc); around the same time Gottfried von Strassburg 's version of the Tristan of Thomas of Britain (a different Thomas to the author of 'Horn') and Wolfram von Eschenbach 's Parzival translated classic French romance narrative into the German tongue. During the early 13th century, romances were increasingly written as prose, and extensively amplified through cycles of continuation. These were collated in

1596-483: The Dane , Roswall and Lillian , Le Bone Florence of Rome , and Amadas . Indeed, some tales are found so often that scholars group them together as the " Constance cycle" or the " Crescentia cycle"—referring not to a continuity of character and setting, but to the recognizable plot. Many influences are clear in the forms of chivalric romance. The earliest medieval romances dealt heavily with themes from folklore, which diminished over time, though remaining

1653-694: The Enchanted Realm (founded 1889), often known as "the Grotto", a social group with membership restricted to Master Masons , and its female auxiliary, the Daughters of Mokanna (founded 1919), also take their names from Thomas Moore's poem. A tomb in Hassanabdal , Pakistan, dating from the Mughal Empire , is known as tomb of Princess Lalarukh. Some historians and others say that there is a woman called Lalarukh from

1710-616: The English Le Morte d'Arthur by Sir Thomas Malory ( c.  1408  – c.  1471 ), the Valencian Tirant lo Blanch , and the Castilian or Portuguese Amadís de Gaula (1508), spawned many imitators, and the genre was popularly well-received, producing such masterpiece of Renaissance poetry as Ludovico Ariosto 's Orlando furioso and Torquato Tasso 's Gerusalemme Liberata and other 16th-century literary works in

1767-469: The Forest (1791) with erotic content to novels centered on the episodic development of a courtship that ends in marriage. With a female protagonist, during the rise of Romanticism the depiction of the course of such a courtship within contemporary conventions of realism , the female equivalent of the " novel of education ", informs much Romantic fiction . In gothic novels such as Bram Stoker 's Dracula ,

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1824-551: The Matter of Britain, leading to even the French regarding King Arthur's court as the exemplar of true and noble love, so much so that even the earliest writers about courtly love would claim it had reached its true excellence there, and love was not what it was in King Arthur's day. A perennial theme was the rescue of a lady from the imperiling monster , a theme that would remain throughout

1881-500: The Peri", "The Fire-Worshippers", and "The Light of the Harem". When Lalla Rookh enters the palace of her bridegroom she swoons away, expectant to do her duty in marrying she has never met. She awakes with rapture to find that the poet she loves is there. The king had disguised himself as a slave to test whether his bride-to-be loved him for whom he truly was. Scholars have stated Moore, a friend of

1938-577: The Swedish literary work Frithjof's saga , which was based on the Friðþjófs saga ins frœkna , became successful in England and Germany . It was translated twenty-two times into English, 20 times into German, and into many other European languages, 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

1995-623: The behavior of Lancelot conforms to the courtly love ideal; it also, though still full of adventure, devotes an unprecedented amount of time to dealing with the psychological aspects of the love. By the end of the 14th century, counter to the earliest formulations, many French and English romances combined courtly love, with love sickness and devotion on the man's part, with the couple's subsequent marriage; this featured in Sir Degrevant , Sir Torrent of Portyngale , Sir Eglamour , and William of Palerne . Ipomadon even explicitly describes

2052-431: The early 13th century, romances were increasingly written as prose. In later romances, particularly those of French origin, there is a marked tendency to emphasize themes of courtly love , such as faithfulness in adversity. Unlike the later form of the novel and like the chansons de geste , the genre of romance dealt with traditional themes. These were distinguished from earlier epics by heavy use of marvelous events,

2109-412: The elements of love, and the frequent use of a web of interwoven stories, rather than a simple plot unfolding about a main character. The earliest forms were invariably in verse, but the 15th century saw many in prose, often retelling the old, rhymed versions. The romantic form pursued the wish-fulfillment dream where the heroes and heroines were considered representations of the ideals of the age while

2166-423: The elements of romantic seduction and desire were mingled with fear and dread. Nathaniel Hawthorne used the term to distinguish his works as romances rather than novels, and literary criticism of the 19th century often accepted the contrast between the romance and the novel, in such works as H. G. Wells 's "scientific romances" in the beginning of science fiction . In 1825, the fantasy genre developed when

2223-537: The emergence of Scandinavian verse romance in Sweden under the patronage of Queen Euphemia of Rügen , who commissioned the Eufemiavisorna . Another trend of the high Middle Ages was the allegorical romance, inspired by the wildly popular Roman de la Rose . In late medieval and Renaissance high culture, the important European literary trend was to fantastic fictions in the mode of Romance. Exemplary work, such as

2280-521: The executed Irish rebel Robert Emmet , depicts in the poem "disguised versions of the French Revolution and the Irish Rebellion of 1798, [and] condemns the former but justifies the latter". Lalla Rookh was the basis of number of musical settings, including a cantata by Frederic Clay & W. G. Wills (1877) featuring the famous song I'll Sing Thee Songs of Araby . The Fire-Worshippers

2337-455: The expression of romance narrative in the later Middle Ages, at least until the resurgence of verse during the high Renaissance in the oeuvres of Ludovico Ariosto , Torquato Tasso , and Edmund Spenser . In Old Norse, they are the prose riddarasögur or chivalric sagas. The genre began in thirteenth-century Norway with translations of French chansons de geste ; it soon expanded to similar indigenous creations. The early fourteenth century saw

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2394-614: The first word derives from the Persian word for tulip, laleh , and a different word, laal , means rosy, or ruby . Tulips were first cultivated in Persia, probably in the 10th century, and remain a powerful symbol in Iranian culture, and the name Laleh is a popular girl's name. Rukh also translates as "face". Moore took the idea of setting and model of Lalla Rookh from The Garden of Knowledge by Inayatullah Kamboh (1608–1671). He set his poem in

2451-446: The household of Emperor Humayun buried here after dying on a journey from Kashmir, while others claim that she was the daughter of Emperor Aurangzeb. The tomb was first recorded as the Tomb of Lady Lalarukh in 1905, which historians suggest was derived from Moore's popular work and named by British officers in the time of British India . In George Eliot's 1871/1872 novel Middlemarch , it

2508-407: The interpolated tales, Paradise and the Peri , was set as a choral-orchestral work by Robert Schumann (1843). Lines from the poem form the lyrics of the song "Bendemeer Stream". The poem was translated into German in 1846, as Laleh-Rukh. Eine romantische Dichtung aus dem Morgenlande , by Anton Edmund Wollheim da Fonseca , and was possibly the most translated poem of its time. Lala Rookh ,

2565-500: The judgement of many learned readers in the shifting intellectual atmosphere of the 17th century, the romance was trite and childish literature, inspiring only broken-down ageing and provincial persons such as Don Quixote , knight of the culturally isolated province of La Mancha . ( Don Quixote [1605, 1615], by Miguel de Cervantes [1547–1616], is a satirical story of an elderly country gentleman, living in La Mancha province, who

2622-479: The lines: Ne sont que III matières à nul homme atandant: De France et de Bretaigne et de Rome la grant There are only three subject matters for any discerning man: That of France, that of Britain, and that of great Rome. In reality, a number of "non-cyclical" romances were written without any such connection; these include such romances as King Horn , Robert the Devil , Ipomadon , Emaré , Havelok

2679-442: The married couple as lovers, and the plot of Sir Otuel was altered, to allow him to marry Belyssant. Similarly, Iberian romances of the 14th century praised monogamy and marriage in such tales as Tirant lo Blanc and Amadís de Gaula . Many medieval romances recount the marvellous adventures of a chivalrous, heroic knight , often of super-human ability, who, abiding chivalry's strict codes of honor and demeanor, goes on

2736-409: The medieval romance Gamelyn and the source for As You Like It ), Robert Duke of Normandy (based on Robert the Devil ) and A Margarite of America . The Acritic songs (dealing with Digenis Acritas and his fellow frontiersmen) resemble much the chanson de geste , though they developed simultaneously but separately. These songs dealt with the hardships and adventures of the border guards of

2793-554: The medieval romance, or from the Romantic movement: larger-than-life heroes and heroines, drama and adventure, marvels that may become fantastic, themes of honor and loyalty, or fairy-tale-like stories and story settings. Shakespeare's later comedies, such as The Tempest or The Winter's Tale are sometimes called his romances . Modern works may differentiate from love-story as romance into different genres, such as planetary romance or Ruritanian romance . Science fiction was, for

2850-623: The romance genre. The romances were freely drawn upon for royal pageantry. Queen Elizabeth I's Accession Day tilts, for instance, drew freely on the multiplicity of incident from romances for the knights' disguises. Knights even assumed the names of romantic figures, such as the Swan Knight , or the coat-of-arms of such figures as Lancelot or Tristan. From the high Middle Ages, in works of piety, clerical critics often deemed romances to be harmful worldly distractions from more substantive or moral works, and by 1600 many secular readers would agree; in

2907-575: The romances of the medieval era. Originally, this literature was written in Old French (including Anglo-Norman ) and Old Occitan , later, in Old Spanish , Middle English and Middle High German – amongst the important Spanish texts was Book of the Knight Zifar ; notable later English works being King Horn (a translation of the Anglo-Norman (AN) Romance of Horn of Mestre Thomas), and Havelok

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2964-656: The tales that were told of their ancestors, unlike the Matter of Britain. Richard Coeur de Lion reappeared in romance, endowed with a fairy mother who arrived in a ship with silk sails and departed when forced to behold the sacrament, bare-handed combat with a lion, magical rings, and prophetic dreams. Hereward the Wake 's early life appeared in chronicles as the embellished, romantic adventures of an exile, complete with rescuing princesses and wrestling with bears. Fulk Fitzwarin , an outlaw in King John's day, has his historical background

3021-622: The tradition. Sir Gawain and the Green Knight is a late tale, but the Green Knight himself is an otherworldly being. Early persecuted heroines were often driven from their husbands' homes by the persecutions of their mothers-in-law, whose motives are seldom delineated, and whose accusations are of the heroines' having borne monstrous children, committed infanticide, or practiced witchcraft — all of which appear in such fairy tales as The Girl Without Hands and many others. As time progressed,

3078-500: The traditions of magic that were attributed to such figures as Virgil. The new courtly love was not one of the original elements of the genre, but quickly became very important when introduced. It was introduced to the romance by Chretien de Troyes , combining it with the Matter of Britain, new to French poets. In Lancelot, the Knight of the Cart (unlike his earlier Erec and Enide ),

3135-506: The vast, polymorphous manuscript witnesses comprising what is now known as the Lancelot-Grail Cycle , with the romance of La Mort le Roi Artu c.  1230 , perhaps its final installment. These texts, together with a wide range of further Arthurian material, such as that found in the anonymous English Brut Chronicle , comprised the bases of Thomas Malory 's Le Morte d'Arthur . Prose literature thus increasingly dominated

3192-513: The villains embodied the threat to their ascendancy. There is also a persistent archetype, which involved a hero's quest. This quest or journey served as the structure that held the narrative together. With regards to the structure, scholars recognize the similarity of the romance to folk tales. Vladimir Propp identified a basic form for this genre and it involved an order that began with initial situation, then followed by departure, complication, first move, second move, and resolution. This structure

3249-466: The works. This occurred regardless of congruity to the source material; Alexander the Great featured as a fully feudal king. Chivalry was treated as continuous from Roman times. This extended even to such details as clothing; when in the Seven Sages of Rome , the son of an (unnamed) emperor of Rome wears the clothing of a sober Italian citizen, and when his stepmother attempts to seduce him, her clothing

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