By Hubert McDermott
Contents: advent; 1 historic Narrative Modes: TheàR "Odyssey", The Greek Romances, The Latin Romances; 2 Medieval Romance: three Pre-Eighteenth-Century Romance, Elizabethan Romance, French Romance of the 16th and 17th Centuries, Heroic Romance in England, Passionate Romance, spiritual Romance; four Richardson and Romance:àR "Pamela" as Romance, "Clarissa" as Romance, "Clarissa" as spiritual Romance; five Henry Fielding's comedian Romances: Richardson and Fielding: Romance and Anti-Romance?, Fielding's thought of Fiction,àR "Joseph Andrews" and "Tom Jones" as comedian Romances, "Joseph Andrews" and "Tom Jones" as traditional Romances, "Tom Jones" as Passionate Romance; Appendix I; Appendix II; Notes and References; choose Bibliography; IndexàR
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Extra info for Novel and Romance: The Odyssey to Tom Jones
Aethiopica, first half of 3rd century AD This catalogue speaks for itself in many respects: it is immediately apparent, for instance, that we possess a mere eight Greek romances from over four centuries of production. In fact the number would be more accurately six, since two of the above, the Ninus romance and the Babyloniaca are only fragments of the originals. The romances numbered 5 to 8 are the ones best known in modern times, for reasons which will become apparent. There is a marked difference between the latter four romances, and the ones preceding them.
The sophists - or at least some of them - seized upon the romance as a means of exhibiting their rhetorical skills to a wide audience. They may well have been almost ashamed, as Perry suggests, 48 of writing a love story at all, but there is no doubt about the major improvements which they introduced into the genre. They also helped to gain some recognition for romance in academic circles, but too late. It is tempting to draw a comparison between the writers of sophistic romance and Henry Fielding.
For the sophist, of course, love at first sight is a phenomenon to which he can devote pages of description and scientific analysis. One might add, indeed, that there is little point in marvelling at love at first sight in the Greek romances, when there are several instances of 'love at first hearing' - when the Ancient Narrative Modes 29 male simply hears a female described, and falls violently in love with her. In spite of- or perhaps even because of his preoccupation with action - the Greek romancer is not too particular about how this action is brought about: there is seldom any emphasis on cause and effect as a means of creating or advancing action.