Valentine and Orson

Print after Pieter Bruegel the Elder of a performance based on the romance

Romance which has been attached to the Carolingian cycle.

- Valentine and Orson

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Chivalric romance

Type of prose and verse narrative that was popular in the noble courts of High Medieval and Early Modern Europe.

Yvain fighting Gawain in order to regain the love of his lady Laudine. Medieval illumination from Chrétien de Troyes's romance, Yvain, le Chevalier au Lion
Holger Danske, or Ogier the Dane, from the Matter of France
A knight rescues a lady from a dragon.

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.

Richard Hathwaye

English dramatist.

2) Valentine and Orson, with Anthony Munday, July 1598. Not printed.

Nancy Ekholm Burkert

American artist and illustrator.

An Illustrator

She won the Boston Globe-Horn Book Special Award for Valentine and Orson in 1990.

Brazen head

Legendary automaton in the early modern period whose ownership was ascribed to late medieval scholars, such as Roger Bacon, who had developed a reputation as wizards.

Roger Bacon's assistant Miles is confronted by the Brazen Head in a 1905 retelling of the story.
An Elizabethan woodcut of Miles playing his tambour while Friars Bacon and Bungay sleep and their Brazen Head speaks: "Time is. Time was. Time is past."

A brazen head also appears in the surviving accounts of the Carolingian Valentine and Nameless, where it reveals the pair's royal origin in a necromancer's lair in Clarimond Castle; despite the age of the base story, however, the earliest surviving copies date to the 15th century.

Ferragut

Character—a Saracen paladin, sometimes depicted as a giant—in texts dealing with the Matter of France, including the Historia Caroli Magni, and Italian romantic epics, such as Orlando innamorato by Matteo Maria Boiardo and Orlando furioso by Ludovico Ariosto.

Combat of Roland and the giant Ferragut. Illuminated miniature from Grandes Chroniques de France, c1375-1380 (BnF Français 2813, fol. 118)
Combat of Roldán and Ferragut (Estella)

Ferragus is also the name of a completely different Saracen giant from Portugal in the medieval romance Valentine and Orson.

Robert Reece

British comic playwright and librettist active in the Victorian era.

Reece's The Forty Thieves, 1880
Poster for an 1886 production of Reece's Aladdin and the Forty Thieves

At the Gaiety, he produced fourteen pieces between 1872 and 1884, among them the pantomimes Ali Baba (1872), Don Giovanni in Venice (1873), The Forty Thieves, (written with F. C. Burnand, H. J. Byron and W. S. Gilbert) (1878) and another version of the same story, with music by Meyer Lutz in 1880; and the burlesques Aladdin, (1881); Little Robin Hood, (1882); and Valentine and Orson, (1882).

Enchanted forest

Enchanted forest is a forest under, or containing, enchantments.

"Genoveva in the Forest Seclusion" by Adrian Ludwig Richter – a refuge and a magical deer
Gustave Doré’s illustration to Orlando Furioso: a knight and his men see a knight and lady approach in the forest
Giacinto Gimignani, Rinaldo and Armida meet in the enchanted forest in Jerusalem Delivered

In Valentine and Orson, the Queen is sent into exile and so forced to give birth in the woods; one child, taken by a bear, turns to a wild man of the woods, who later aids Valentine, his long-lost brother.

Valentine (name)

Masculine given name, feminine given name, and a surname, derived from the Roman family name Valentinus, which was derived from the Latin word valens, which means "strong and healthy."

Saint Valentine

Valentine, in the medieval romance Valentine and Orson

Charles Farley

English actor and dramatist.

Charles Farley as Cloten in Cymbeline, 1821 engraving by Thomas Woolnoth after Thomas Charles Wageman

He was the instructor of Joseph Grimaldi, with whom he starred in a production of Valentine and Orson in 1806, Farley playing the former role.

Bella Goodall

English soubrette of the Victorian theatre.

Bella Goodall

In pantomime she was "a very dashing and prepossessing Princess Eglantine" in a version of Valentine and Orson for the 1867 Christmas season, and she successfully took a travesti (male) role in Boucicault's The Flying Scud at the Holborn Theatre, playing Lord Woodbie, followed by another trousers role, the valet Max, in Gilbert's burlesque, The Merry Zingara, a parody of The Bohemian Girl.