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Detroit Tigers vs. Minnesota Twins Tickets
Comerica Park
Detroit, Michigan
September 27, xxxx
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the dramatic way almost entirely, but they actually improved the poetical on its narrative side, and the result was Romance. In every romance there is the germ of a novel and more; there is at least the suggestion and possibility of romance in every novel that deserves the name. In the Tristram story and the Lancelot cycle there are most of the things that the romancer of incident and the novelist of character and motive can want or can use, till the end of the world; and Malory (that "mere compiler" as some pleasantly call him) has put the possibilities of the latter and greater creation so that no one who has eyes can miss them. Nor in the beginning does it much or at all matter whether the vehicle was prose or verse. In fact they mostly wrote in verse because prose was not ready. In the minor romances and tales (taking English versions only) from Havelok to Beryn there is a whole universe of situation, scenario, opportunity for "business." That they have the dress and the scene?backing of one particular period can matter to no one who has eyes for anything beyond
`attention. The execrable Lonelich or Lovelich, who preceded Malory a little, had of course predecessors in handling the other parts of the Graal story. But the crown and flower of the whole--the inspiration which connected the Round Table and the Graal and the love of Lancelot and Guinevere--though, so far as the present writer's reading and opinion are of any weight, the recent attempts to deprive the Englishman, Walter Map, of the honour of conceiving it are of no force--seems to have waited till the fifteenth century--that is to say the last part of three hundred years--before Englishmen took it up. Most popular of all perhaps, on the principle that in novels the flock "likes the savour of fresh grass," seem to have been the pure romans d'aventures--quite unconnected or nearly so with each other or with any of the larger cycles. Those adventures of particular heroes have sometimes a sort of Arthurian link, but they really have no more to do with the main Arthurian story than if Arthur were not. For the present purpose, however, filiation, origin, and such?like things are of
much less importance than the actual stories that get themselves told to satisfy that demand which in due time is to produce the supply of the novel. Of these the two oldest, as regards the actual forms in which we have them, are capital examples of the more and less original handling of "common?form" stories or motives. They were not then, be it remembered, quite such common?form as now--the rightful heir kept out of his rights, the usurper of them the princess gracious or scornful or both by turns, the quest, the adventure, the revolutions and discoveries and fights, the wedding bells and the poetical justice on the villain. Let it be remembered, too, if anybody is scornful of these as vieux jeu, that they have never been really improved upon except by the very obvious and unoriginal method common in clever?silly days, of simply reversing some of them, of "turning platitudes topsy?turvy," as not the least gifted, or most old?fashioned, of novelists, Tourguenief, has it. Perhaps the oldest of all, Havelok the Dane--a story the age of which from evidence both internal and external