Julie Burton Fairytale Characteristics in Medieval Romances Doctoral thesis completed but not submitted, owing to the death of the author This thesis represents the state of completion the author attained before her death in March 2010. It was her final wish that it be made available to the widest possible scholarly circulation. All queries regarding this should be directed to her husband: Mr Simon Burton, 51 Double Row, Charlestown, Fife, KY11 3EJ Tel: 01383 872847 Email:
[email protected] The bibliography was posthumously prepared from the footnotes by Dr Lynne Blanchfield (queries to
[email protected]). Page 1 of 249 INTRODUCTION From the viewpoint of the twenty-first century, Middle English romance can be a problematic genre. Its fantastic events, stock characters, repetitive structures and contrived endings seem to belong with the fairytale of the nursery rather than with the 1 serious literature of the adult world. Stylistically, so many romances do little to counter this impression with formulaic words and phrases expressing simplistic emotions and commonplace sentiments. Yet Middle English romance was an enduring genre, popular over five hundred years or more. Although Chaucer was famously disparaging about the verse romances in his burlesque „Sir Thopas‟, many survive in the collections of, or indeed were commissioned by, worldly men, important and successful in their time. Clearly this raises a question: why are the romances, once so popular, unpalatable to the reading public of today? Any response to this question would of course be complex, not least because the romance genre notoriously embraces a range of greatly differing works.