Heroic romances
Encyclopedia
Heroic romances refers to a distinguished class of imaginative literature that flourished in the 17th century, principally in France.
genre than discussed individually. As a part of this larger category, heroic romances are distinguished by their vernacular
language, their celebration of chivalric adventure, and their taste for the exotic, remote, and miraculous. They generally end happily, and are separated from epics
by their sophistication of narrative. Heroic romances flourished during a reawakening of medieval romantic elements and usually featured the pursuit of the valiant for impossible beauty. However, they also captured the language, feeling, and atmosphere of the age. The passion of love is dominant throughout; the object of the hero’s affections is usually very beautiful and fiercely loyal. These books were written with an aim that was partly educational. Although they were meant to entertain, their message was also one meant to instill lessons of practical chivalry.
, the earliest French novel, is structured in this style. Though the focus of this work is more sentimental than action-oriented, it would become the inspiration for a vast body of literature that would take on many and diverse forms. There was a side of the Astrée that encouraged an extravagant love of glory, that spirit of "panache," which was now rising to its height in France.
The fledglings of the genre were published in the 1620s. These earlier works highlight the chivalrous actions of their heroes through hinting that they were well-known public characters of the day in romantic disguises. Yet, the earliest novel that can be attributed to the genre is the celebrated Polexandre (1629) by Marin le Roy, sieur de Gomberville
(1600–1674). In this work the romantic character typical of this class of books is celebrated for his birth, his beauty, and his exploits rather than hidden by a disguise. The story deals with the adventures of a hero who visits all the sea-coasts of the world, the most remote as well as the most fabulous, in search of an ineffable princess, Alcidiane. This work enjoyed an immense success, and historical romances of a similar class competed for the favor of the public.
The genre flourished throughout France until around 1660, and was in vogue in England from about 1645 to 1660. British imitations of the French style included Parthenissa, published in 1654 by Roger Boyle, Lord Broghill
. This work was greatly admired by Dorothy Osborne
and achieved a decent measure of popularity. When the drama, and in particular tragedy, was reinstituted in England, sentimental readers found a field for their emotions on the stage, and the heroic romances immediately began to go out of fashion. However, they lingered for a quarter of a century more, and M. Jusserand has analyzed what may be considered the very latest of the race, Pandion and Amphigenia, published in 1669 by the dramatist, John Crowne
.
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Characteristics
Today, heroic romances are more often grouped into the larger romanceRomance (genre)
As a literary genre of high culture, romance or chivalric romance is a style of heroic prose and verse narrative that was popular in the aristocratic circles of High Medieval and Early Modern Europe. They were fantastic stories about marvel-filled adventures, often of a knight errant portrayed as...
genre than discussed individually. As a part of this larger category, heroic romances are distinguished by their vernacular
Vernacular
A vernacular is the native language or native dialect of a specific population, as opposed to a language of wider communication that is not native to the population, such as a national language or lingua franca.- Etymology :The term is not a recent one...
language, their celebration of chivalric adventure, and their taste for the exotic, remote, and miraculous. They generally end happily, and are separated from epics
Epic poetry
An epic is a lengthy narrative poem, ordinarily concerning a serious subject containing details of heroic deeds and events significant to a culture or nation. Oral poetry may qualify as an epic, and Albert Lord and Milman Parry have argued that classical epics were fundamentally an oral poetic form...
by their sophistication of narrative. Heroic romances flourished during a reawakening of medieval romantic elements and usually featured the pursuit of the valiant for impossible beauty. However, they also captured the language, feeling, and atmosphere of the age. The passion of love is dominant throughout; the object of the hero’s affections is usually very beautiful and fiercely loyal. These books were written with an aim that was partly educational. Although they were meant to entertain, their message was also one meant to instill lessons of practical chivalry.
History
The first works of modern fiction in France were primarily pastorals. The celebrated Astrée (1610) of Honoré d'UrféHonoré d'Urfé
Honoré d'Urfé, marquis de Valromey, comte de Châteauneuf was a French novelist and miscellaneous writer.- Life :...
, the earliest French novel, is structured in this style. Though the focus of this work is more sentimental than action-oriented, it would become the inspiration for a vast body of literature that would take on many and diverse forms. There was a side of the Astrée that encouraged an extravagant love of glory, that spirit of "panache," which was now rising to its height in France.
The fledglings of the genre were published in the 1620s. These earlier works highlight the chivalrous actions of their heroes through hinting that they were well-known public characters of the day in romantic disguises. Yet, the earliest novel that can be attributed to the genre is the celebrated Polexandre (1629) by Marin le Roy, sieur de Gomberville
Marin le Roy de Gomberville
Marin le Roy, sieur du Parc et de Gomberville was a French poet and novelist.He was born at Paris, and at fourteen he produced a volume of poetry. At twenty he wrote a Discours sur l'histoire and at twenty-two a pastoral, La Charité, which is really a novel...
(1600–1674). In this work the romantic character typical of this class of books is celebrated for his birth, his beauty, and his exploits rather than hidden by a disguise. The story deals with the adventures of a hero who visits all the sea-coasts of the world, the most remote as well as the most fabulous, in search of an ineffable princess, Alcidiane. This work enjoyed an immense success, and historical romances of a similar class competed for the favor of the public.
The genre flourished throughout France until around 1660, and was in vogue in England from about 1645 to 1660. British imitations of the French style included Parthenissa, published in 1654 by Roger Boyle, Lord Broghill
Roger Boyle, 1st Earl of Orrery
Roger Boyle redirects here. For others of this name, see Roger Boyle Roger Boyle, 1st Earl of Orrery was a British soldier, statesman and dramatist. He was the third surviving son of Richard Boyle, 1st Earl of Cork and Richard's second wife, Catherine Fenton. He was created Baron of Broghill on...
. This work was greatly admired by Dorothy Osborne
Dorothy Osborne
Dorothy Osborne, Lady Temple was a British writer of letters and wife of Sir William Temple, 1st Baronet.-Life:Osborne was born at Chicksands Priory, Bedfordshire, England, the youngest of ten children born to a staunchly Royalist family. Her father was the nobleman Sir Peter Osborne, who was the...
and achieved a decent measure of popularity. When the drama, and in particular tragedy, was reinstituted in England, sentimental readers found a field for their emotions on the stage, and the heroic romances immediately began to go out of fashion. However, they lingered for a quarter of a century more, and M. Jusserand has analyzed what may be considered the very latest of the race, Pandion and Amphigenia, published in 1669 by the dramatist, John Crowne
John Crowne
John Crowne was a British dramatist and a native of Nova Scotia.His father "Colonel" William Crowne, accompanied the earl of Arundel on a diplomatic mission to Vienna in 1637, and wrote an account of his journey...
.
Major French works
- Ariane (1632) by Desmarets de Saint-SorlinJean DesmaretsJean Desmarets, Sieur de Saint-Sorlin was a French writer and dramatist. He was a founding member, and the first to occupy seat 4 of the Académie française in 1634.-Biography:...
- Cassandre (1642–1645), Cleopátre (1647), and Faramond (1661) by Gauthier de Costes, seigneur de la CalprenèdeGauthier de Costes, seigneur de la CalprenèdeGauthier de Costes, seigneur de la Calprenède was a French novelist and dramatist. He was born at the Château of Tolgou in Salignac-Eyvigues . After studying at Toulouse, he came to Paris and entered the regiment of the guards, becoming in 1650 gentleman-in-ordinary of the royal household...
- Ibrahim, ou l'Illustre Bassa (1641), Le Grand Cyrus (1648–1653), and Clélie (1649–1654) by Georges de ScudéryGeorges de ScudéryGeorges de Scudéry , the elder brother of Madeleine de Scudéry, was a French novelist, dramatist and poet.Georges de Scudéry was born in Le Havre, in Normandy, whither his father had moved from Provence...
and Madeleine de ScudéryMadeleine de ScudéryMadeleine de Scudéry , often known simply as Mademoiselle de Scudéry, was a French writer. She was the younger sister of author Georges de Scudéry.-Biography:...
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Authorities
- Gordon de Percel, De l'usage des romans (1734)
- André Le Breton, Le Roman au XVII siècle (1890)
- Paul Morillot, Le Roman en France depuis 1610 (1894)
- JJ Jusserand, Le Roman anglais au XVII siècle (1888)