Stry of higher and secondary specialized education of the republic of uzbekistan state university of world languages

2.2. History of fantasy.
lements of the supernatural and the fantastic were an element of literature from its beginning. The modern genre is distinguished from tales and folklore which contain fantastic elements, first by the acknowledged fictitious nature of the work, and second by the naming of an author. Works in which the marvels were not necessarily believed, or only half-believed, such as the European romances of chivalry and the tales of the Arabian Nights, slowly evolved into works with such traits. Authors like George MacDonald (1824 –1905) created the first explicitly fantastic works.Later, in the twentieth century, the publication of The Lord of the Rings by J. R. R. Tolkien enormously influenced fantasy writing, establishing the form of epic fantasy. This also did much to establish the genre of fantasy as commercially distinct and viable. And today fantasy continues as an expansive, multi-layered milieu encompassing many subgenres, including traditional high fantasy, sword and sorcery, magical realism, fairytale fantasy, and horror-tinged dark fantasy. Even the most fantastic myths, legends and fairy tales differ from modern fantasy genre in three respects:Modern genre fantasy postulates a different reality, either a fantasy world separated from ours, or a hidden fantasy side of our own world. In addition, the rules, geography, history, etc. of this world tend to be defined, even if they are not described outright. Traditional fantastic tales take place in our world, often in the past or in far off, unknown places. It seldom describes the place or the time with any precision, often saying simply that it happened "long ago and far away." (A modern, rationalized analog to these stories can be found in the Lost World tales of the 19th and 20th centuries.)The second difference is that the supernatural in fantasy is by design fictitious. In traditional tales the degree to which the author considered the supernatural to be real can span the spectrum from legends taken as reality to myths understood as describing in understandable terms more complicated reality, to late, intentionally-fictitious literary works.Finally, the fantastic worlds of modern fantasy are created by an author or group of authors, often using traditional elements, but usually in a novel arrangement and with an individual interpretation.^[1] Traditional tales with fantasy elements used familiar myths and folklore, and any differences from tradition were considered variations on a theme; the traditional tales were never intended to be separate from the local supernatural folklore. Transitions between the traditional and modern modes of fantastic literature are evident in early Gothic novels, the ghost stories in vogue in the 19th century, and Romantic novels, all of which used extensively traditional fantastic motifs, but subjected them to authors' concepts.By one standard, no work created before the fantasy genre was defined can be considered to belong to it, no matter how many fantastic elements it includes. By another, the genre includes the whole range of fantastic literature, both the modern genre and its traditional antecedents, as many elements which were treated as true (or at least not obviously untrue) by earlier authors are wholly fictitious and fantastic for modern readers. But even by the more limited definition a full examination of the history of the fantastic in literature is necessary to show the origins of the modern genre. Traditional works contain significant elements which modern fantasy authors have drawn upon extensively for inspiration in their own works. With increases in learning in the medieval European era, literary fiction joined earlier myths and legends. Among the first genres to appear was romance. This genre embraced fantasy, and not only simply followed traditional myths and fables, but, in its final form, added new fantastical elements. Romance at first dealt with traditional themes, above all three thematic cycles of tales, assembled in imagination at a late date as the Matter of Rome (focusing on military heroes like Alexander the Great and Julius Caesar), the Matter of France (Charlemagne and Roland, his principal paladin) and 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), although a number of "non-cyclical" romances also achieved a great deal of popularity. The romances themselves were fictional, but such tales as Valentine and Orson, Guillaume de Palerme, and Queste del Saint Graal were only the beginning of the fantasy genre, combining realism and fantasy.During the Renaissance, romance continued to be popular. The trend was to more fantastic fiction. The English Le Morte d'Arthur by Sir Thomas Malory (c.1408–1471), was written in prose; this work dominates the Arthurian literature, often being regarded as the canonical form of the legend. Arthurian motifs have appeared steadily in literature from its publication, though the works have been a mix of fantasy and non-fantasy works.^[5] At the time, it and the Spanish Amadis de Gaula (1508), (also prose) 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. Ariosto's tale, with its endlessly wandering characters, many marvels, and adventures, was a source text for many fantasies of adventure. With such works as Amadis of Gaul and Palmerin of England, the genre of fantasy was clearly inaugurated, as the marvels are deployed to amaze and surprise readers. One English romance is The Faerie Queene of Edmund Spenser. The poem is deeply allegorical and allusive. Leaving allegory aside, however, the action is that of a typical knightly romance, involving knightly duels, and combats against giants and sorcerers. That is probably the first work in which most of the characters are not men, but elves (although the difference seems to be rather little). There are mentioned also the wars between goblins and elf, which were destined to have a great future in fantastic fiction.The tale of Don Quixote deeply satirized the conventions of the romance, and helped bring about the end of this time of romance, although assisted by other historical trends in fiction. Nevertheless, large subgenres of the field of fantasy have sprung from the romance genre, either directly or through their imitation by latter fantasy writer William Morris.⁹