Historical fantasy is a type of fantasy and historical fiction that mixes magical or imaginary elements with stories that are more realistic. This genre often overlaps with other fantasy types, such as those based on Arthurian legends, Celtic stories, or the Dark Ages. Most stories in this category take place before the 20th century.

Films in this genre may have stories set in biblical times or during classical antiquity. These stories are usually loosely based on myths or legends from Greek-Roman history or other cultures from the same time period.

Overview

Historical fantasy usually uses one of three common methods:

Science fiction historian Brian Stableford described "historical fantasy" as a type of story where real events from the past are carefully recreated, except for small amounts of magic that exist within a "secret history."

These three methods often appear together in a type of story called steampunk, which is usually linked to science fiction. However, not all steampunk stories are considered historical fantasy.

Subgenres

After Antoine Galland translated One Thousand and One Nights into French, the story became popular in Europe. Many writers then created fantasy stories based on Galland’s romantic view of the Middle East and North Africa. Early examples include the humorous stories by Anthony Hamilton and the book Zadig by Voltaire. In English, works in the Arabian fantasy genre include Rasselas (1759) by Samuel Johnson, The Tales of the Genii (1764) by James Ridley, Vathek (1786) by William Thomas Beckford, The Shaving of Shagpat (1856) by George Meredith, Khaled (1891) by F. Marion Crawford, and Hassan (1922) by James Elroy Flecker.

In the late 1970s, interest in this subgenre grew again with Hasan (1977) by Piers Anthony. Later works included The Arabian Nightmare (1983) by Robert Irwin, Castle in the Air (1990) by Diana Wynne Jones, Djinn Rummy (1995) by Tom Holt, and Fall of a Kingdom by Hilari Bell.

Celtic fantasy is connected to historical fantasy and Celtic historical fiction. Works like The Deverry series by Katharine Kerr and The Green Lion trilogy by Teresa Edgerton are loosely based on ancient Celtic cultures. Sometimes, writers use the folklore of Ireland, Wales, and Scotland without clearly distinguishing between them, as in Finnbranch trilogy by Paul Hazel. Other writers focus on one region at a time.

Stories inspired by Irish mythology include The Crock of Gold (1912) by James Stephens, The Curse of the Wise Woman (1933) by Lord Dunsany, At Swim-Two-Birds (1939) by Flann O’Brien, The Hounds of the Morrigan (1985) by Pat O’Shea, and novels by Peter Tremayne, Morgan Llywelyn, and Gregory Frost.

The Welsh tradition has greatly influenced fantasy, especially because of its connection to King Arthur and the collection of stories called the Mabinogion. Evangeline Walton’s fantasy books, such as The Island of the Mighty and The Children of Llyr, are based on these tales. Other Welsh fantasy writers include Kenneth Morris, John Cowper Powys, Vaughan Wilkins, Lloyd Alexander, Alan Garner, and Jenny Nimmo.

Scottish Celtic fantasy is less common, but writers like James Hogg, John Francis Campbell (The Celtic Dragon Myth, 1911), Fiona MacLeod, William Sharp, George Mackay Brown, and Deborah Turner Harris have written stories based on Scottish myths.

Fantasy based on Breton folklore, a part of Celtic mythology, is rare in English. However, writers like Robert W. Chambers (The Demoiselle d’Ys, from The King in Yellow, 1895) and A. Merritt (Creep, Shadow!, 1934) used the Breton legend of the lost city of Ys. J. R. R. Tolkien’s poem The Lay of Aotrou and Itroun (1930) is also based on a Breton legend about the Corrigan.

Classical fantasy is a type of historical fantasy based on Greek and Roman myths. These myths have greatly influenced Western culture, but they were not widely used in fantasy stories until the 19th century. Writers like Richard Garnett (The Twilight of the Gods and Other Tales, 1888) and John Kendrick Bangs (Olympian Nights, 1902) used Greek myths for humorous stories.

In the 20th century, writers like John Erksine (The Private Life of Helen of Troy, 1925) and Eden Phillpotts (Pan and the Twins, 1922) used Greek myths to explore philosophical ideas. Jack Williamson’s The Reign of Wizardry (1940) is an adventure story based on the legend of Theseus. Thomas Burnett Swann’s Day of the Minotaur (1966) and Marion Zimmer Bradley’s The Firebrand (1986) are classical fantasy stories with feminist themes. Guy Gavriel Kay’s Sarantine Mosaic series is set in a world similar to the Byzantine Empire. Assaph Mehr’s Stories of Togas, Daggers, and Magic reimagines a world where Roman magic is real.

Fantasy of manners, also called “mannerpunk,” is a subgenre set in strict, hierarchical societies. It is inspired by the social novels of authors like Jane Austen and Oscar Wilde. These stories focus on class struggles in cities, with witty dialogue often replacing physical fights. Examples include Swordspoint by Ellen Kushner and Jonathan Strange & Mr Norrell by Susanna Clarke.

Fantasy steampunk is a subgenre of historical fantasy, often set in the Victorian or Edwardian eras. It features steam-powered technology, Victorian or Gothic-style architecture, and elements like gears and engines. Works like The Golden Compass by Philip Pullman, The Half-Made World by Felix Gilman, and The Anubis Gates by Tim Powers are examples of steampunk.

Gaslamp fantasy is a subgenre of both steampunk and historical fantasy, set in a world similar to the Victorian or Edwardian eras but with more magic than technology. It is sometimes called “muskets and magic.” Gunpowder fantasy is set in a world with technology like that of Early modern Europe (16th–18th centuries), combining elements of high fantasy (magic, mythical creatures) with guns like muskets and rifles. Examples include the Solomon Kane series by Robert E. Howard, Monster Blood Tattoo by D. M. Cornish, Fullmetal Alchemist by Hiromu Arakawa, Terrarch Tetralogy by William King, The Powder Mage trilogy by Brian McClellan, and The Shadow Campaigns by Django Wexler.

Medieval fantasy includes stories that mix medieval history, legends, and aesthetics with fantasy elements. It is different from folklore, which