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subsection </button> <ul id="toc-Medieval_romance-sublist" class="vector-toc-list"> <li id="toc-Later_influence" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Later_influence"> <div class="vector-toc-text"> 2.1 Later influence </div> </a> <ul id="toc-Later_influence-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Gothic_novel" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Gothic_novel"> <div class="vector-toc-text"> 3 Gothic novel </div> </a> <ul id="toc-Gothic_novel-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Historical_romance" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Historical_romance"> <div class="vector-toc-text"> 4 Historical romance </div> </a> <button aria-controls="toc-Historical_romance-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Historical romance subsection </button> <ul id="toc-Historical_romance-sublist" class="vector-toc-list"> <li id="toc-Walter_Scott" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Walter_Scott"> <div class="vector-toc-text"> 4.1 Walter Scott </div> </a> <ul id="toc-Walter_Scott-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Relationship_with_Romanticism" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Relationship_with_Romanticism"> <div class="vector-toc-text"> 4.2 Relationship with Romanticism </div> </a> <ul id="toc-Relationship_with_Romanticism-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Love_romance" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Love_romance"> <div class="vector-toc-text"> 5 Love romance </div> </a> <ul id="toc-Love_romance-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Sensation_novel" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Sensation_novel"> <div class="vector-toc-text"> 6 Sensation novel </div> </a> <ul id="toc-Sensation_novel-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Adventure_fiction" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Adventure_fiction"> <div class="vector-toc-text"> 7 Adventure fiction </div> </a> <ul id="toc-Adventure_fiction-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Scientific_romances" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Scientific_romances"> <div class="vector-toc-text"> 8 Scientific romances </div> </a> <button aria-controls="toc-Scientific_romances-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Scientific romances subsection </button> <ul id="toc-Scientific_romances-sublist" class="vector-toc-list"> <li id="toc-H._G._Wells" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#H._G._Wells"> <div class="vector-toc-text"> 8.1 H. G. 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class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Genre of novel</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Historical_novel" class="mw-redirect" title="Historical novel">Historical novel</a>, <a href="/wiki/Historical_romance" title="Historical romance">Historical romance</a>, <a href="/wiki/Historical_fantasy" title="Historical fantasy">Historical fantasy</a>, <a href="/wiki/Historical_fiction" title="Historical fiction">Historical fiction</a>, and <a href="/wiki/Romance_novel" title="Romance novel">Romance novel</a></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Not to be confused with <a href="/wiki/Romance_novel" title="Romance novel">Romance novel</a>.</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:The_Lady_of_the_Lake_telleth_Arthur_of_the_sword_Excalibur.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/The_Lady_of_the_Lake_telleth_Arthur_of_the_sword_Excalibur.jpg/220px-The_Lady_of_the_Lake_telleth_Arthur_of_the_sword_Excalibur.jpg" decoding="async" width="220" height="283" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/The_Lady_of_the_Lake_telleth_Arthur_of_the_sword_Excalibur.jpg/330px-The_Lady_of_the_Lake_telleth_Arthur_of_the_sword_Excalibur.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f1/The_Lady_of_the_Lake_telleth_Arthur_of_the_sword_Excalibur.jpg/440px-The_Lady_of_the_Lake_telleth_Arthur_of_the_sword_Excalibur.jpg 2x" data-file-width="680" data-file-height="874" /></a><figcaption>"How Arthur by the mean of Merlin gat Excalibur his sword of the Lady of the Lake", illustration for <a href="/wiki/Le_Morte_Darthur" class="mw-redirect" title="Le Morte Darthur">Le Morte Darthur</a>, J. M. Dent & Co., London (1893–1894), by <a href="/wiki/Aubrey_Beardsley" title="Aubrey Beardsley">Aubrey Beardsley</a></figcaption></figure> Romance, is a "a fictitious narrative in prose or verse; the interest of which turns upon marvellous and uncommon incidents". This genre contrasted with the main tradition of the <a href="/wiki/Novel" title="Novel">novel</a>, which realistically depict life.<a href="#cite_note-1">[1]</a> These works frequently, but not exclusively, take the form of the <a href="/wiki/Historical_romance" title="Historical romance">historical novel</a>.<a href="#cite_note-2">[2]</a> <a href="/wiki/Walter_Scott" title="Walter Scott">Walter Scott</a> describes romance as a "kindred term",<a href="#cite_note-3">[3]</a> and many European languages do not distinguish between romance and novel: "a novel is le roman, der Roman, il romanzo".<a href="#cite_note-4">[4]</a> There is a second type of romance, <a href="/wiki/Genre_fiction" title="Genre fiction">genre fiction</a> <a href="/wiki/Romance_novel" title="Romance novel">love romances</a>, where the primary focus is on love and marriage.<a href="#cite_note-5">[5]</a> The term "romance" is now mainly used to refer to this type, and for other fiction it is "now chiefly archaic and historical" (OED). Works of fiction such as <a href="/wiki/Wuthering_Heights" title="Wuthering Heights">Wuthering Heights</a><a href="#cite_note-6">[6]</a> and <a href="/wiki/Jane_Eyre" title="Jane Eyre">Jane Eyre</a><a href="#cite_note-7">[7]</a><a href="#cite_note-8">[8]</a> combine elements from both types of romance. The terms "romance novel" and "historical romance" are ambiguous, because the words "romance", and "romantic", can have different meanings: for example, romance can refer to either <a href="/wiki/Romantic_love" class="mw-redirect" title="Romantic love">romantic love</a>, or "the character or quality that makes something appeal strongly to the imagination, and sets it apart from ... everyday life" and is associated with "adventure, heroism, chivalry, etc." (OED). The latter sense connects it with the <a href="/wiki/Romantic_movement" class="mw-redirect" title="Romantic movement">Romantic movement</a>, and the <a href="/wiki/Gothic_novel" class="mw-redirect" title="Gothic novel">gothic novel</a>, as well as to the <a href="/wiki/Medieval_romance" class="mw-redirect" title="Medieval romance">medieval romance</a> tradition,<a href="#cite_note-9">[9]</a> though the genre has a long history that includes the <a href="/wiki/Ancient_Greek_novel" title="Ancient Greek novel">ancient Greek novel</a>.<a href="#cite_note-10">[10]</a> In addition to Walter Scott other romance writers (as defined by Scott) include <a href="/wiki/The_Bront%C3%ABs" class="mw-redirect" title="The Brontës">the Brontës</a>, <a href="/wiki/E._T._A._Hoffmann" title="E. T. A. Hoffmann">E. T. A. Hoffmann</a>, <a href="/wiki/Victor_Hugo" title="Victor Hugo">Victor Hugo</a>, <a href="/wiki/Nathaniel_Hawthorne" title="Nathaniel Hawthorne">Nathaniel Hawthorne</a>, <a href="/wiki/Robert_Louis_Stevenson" title="Robert Louis Stevenson">Robert Louis Stevenson</a>, and <a href="/wiki/Thomas_Hardy" title="Thomas Hardy">Thomas Hardy</a>. Later examples are, <a href="/wiki/Joseph_Conrad" title="Joseph Conrad">Joseph Conrad</a>, <a href="/wiki/John_Cowper_Powys" title="John Cowper Powys">John Cowper Powys</a>, <a href="/wiki/J._R._R._Tolkien" title="J. R. R. Tolkien">J. R. R. Tolkien</a> and <a href="/wiki/A._S._Byatt" title="A. S. Byatt">A. S. Byatt</a>. <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Definition">Definition</h2>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=1" title="Edit section: Definition">edit</a>]</div> The American novelist <a href="/wiki/Nathaniel_Hawthorne" title="Nathaniel Hawthorne">Nathaniel Hawthorne</a> described a romance as being radically different from a novel by not being concerned with the possible or probable course of ordinary experience.<a href="#cite_note-11">[11]</a> The term romance is applied across a number of genres, including the love <a href="/wiki/Romance_novel" title="Romance novel">romance novel</a>, the historical novel, the <a href="/wiki/Adventure_novel" class="mw-redirect" title="Adventure novel">adventure novel</a>, and <a href="/wiki/Scientific_romance" title="Scientific romance">scientific romance</a> (an older term for what is now called <a href="/wiki/Science_fiction" title="Science fiction">science fiction</a>). Works of <a href="/wiki/Nautical_fiction" title="Nautical fiction">nautical fiction</a> can also be romances, as the genre often overlaps with <a href="/wiki/Historical_romance" title="Historical romance">historical romance</a>, <a href="/wiki/Adventure_fiction" title="Adventure fiction">adventure fiction</a>, and <a href="/wiki/Fantasy" title="Fantasy">fantasy stories</a>. The more modern term <a href="/wiki/Historical_fantasy" title="Historical fantasy">historical fantasy</a> covers one sort of "romance". The following are the two main definitions relating to literature found in the Oxford English Dictionary: <ul><li>A fictitious narrative, usually in prose, in which the settings or the events depicted are remote from everyday life, or in which sensational or exciting events or adventures form the central theme; a book, etc., containing such a narrative. Now chiefly archaic and historical;</li> <li>A story of romantic love, esp. one which deals with love in a sentimental or idealized way; a book, film, etc., with a narrative or story of this kind. Also as mass noun: literature of this kind.</li></ul> Overlap is also sometimes found between the above terms, when literary romance also contains a strong love interest. Examples include <a href="/wiki/Wuthering_Heights" title="Wuthering Heights">Wuthering Heights</a><a href="#cite_note-12">[12]</a> and <a href="/wiki/Jane_Eyre" title="Jane Eyre">Jane Eyre</a>.<a href="#cite_note-13">[13]</a><a href="#cite_note-14">[14]</a> And in other words: <dl><dd><dl><dd>With the rise of realism in the novel, the romance began to be considered a less serious and more frivolous genre, so that in the 20th century the term 'romantic novel' is often used disparagingly, to imply a contrast with a realist novel ... The term gradually came to mean any fiction remote from the conditions and concerns of everyday life. In this sense, romance is a broad term which can include or overlap with such genres as the historical novel or fantasy. In popular culture, however, a romance has come to mean specifically a love story, in which a happy ending follows a series of vicissitudes.<a href="#cite_note-15">[15]</a></dd></dl></dd></dl> As noted above a relationship exists between romance and "fantasy", something which arises in particular because of the relationship between this type of novel and medieval chivalric romances. The most common fantasy world is one based on medieval Europe, and has been since <a href="/wiki/William_Morris" title="William Morris">William Morris</a> used it in his early fantasy works, such as <a href="/wiki/The_Well_at_the_World%27s_End" title="The Well at the World's End">The Well at the World's End</a>.<a href="#cite_note-16">[16]</a> and particularly since the 1954 publication of <a href="/wiki/J.R.R._Tolkien" class="mw-redirect" title="J.R.R. Tolkien">J.R.R. Tolkien</a>'s <a href="/wiki/The_Lord_of_the_Rings" title="The Lord of the Rings">The Lord of the Rings</a>. Such a world is often called "pseudo-medieval"—particularly when the writer has snatched up random elements from the era, which covered a thousand years and a continent, and thrown them together without consideration for their compatibility, or even introduced ideas not so much based on the medieval era as on <a href="/wiki/Medievalism" title="Medievalism">romanticized views</a> of it. When these worlds are copied not so much from history as from other fantasy works, there is a heavy tendency to uniformity and lack of realism.<a href="#cite_note-17">[17]</a> The full width and breadth of the medieval era is seldom drawn upon. Governments, for instance, tend to be uncompromisingly feudal-based, or evil empires or <a href="/wiki/Oligarchies" class="mw-redirect" title="Oligarchies">oligarchies</a>, usually corrupt, while there was far more variety of rule in the actual Middle Ages.<a href="#cite_note-18">[18]</a> Fantasy worlds also tend to be economically medieval, and disproportionately <a href="/wiki/Pastoral" title="Pastoral">pastoral</a>.<a href="#cite_note-19">[19]</a> <div class="mw-heading mw-heading2"><h2 id="Medieval_romance">Medieval romance</h2>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=2" title="Edit section: Medieval romance">edit</a>]</div> As a <a href="/wiki/Literary_genre" title="Literary genre">literary genre</a> of <a href="/wiki/High_culture" title="High culture">high culture</a>, "heroic romance" or "<a href="/wiki/Chivalric_romance" title="Chivalric romance">chivalric romance</a>" is a type of <a href="/wiki/Prose" title="Prose">prose</a> and <a href="/wiki/Verse_(poetry)" title="Verse (poetry)">verse</a> <a href="/wiki/Narrative" title="Narrative">narrative</a> that was popular in the <a href="/wiki/Royal_court" title="Royal court">noble courts</a> of <a href="/wiki/High_Middle_Ages" title="High Middle Ages">High Medieval</a> and <a href="/wiki/Early_Modern_Europe" class="mw-redirect" title="Early Modern Europe">Early Modern Europe</a>. They were <a href="/wiki/Fantasy" title="Fantasy">fantastic</a> stories about marvel-filled <a href="/wiki/Adventure" title="Adventure">adventures</a>, often of a <a href="/wiki/Chivalry" title="Chivalry">chivalric</a> <a href="/wiki/Knight-errant" title="Knight-errant">knight-errant</a> portrayed as having <a href="/wiki/Hero" title="Hero">heroic</a> qualities, who goes on a <a href="/wiki/Quest" title="Quest">quest</a>. The word medieval also evokes <a href="/wiki/Damsel_in_distress" title="Damsel in distress">distressed damsels</a>, <a href="/wiki/Dragon" title="Dragon">dragons</a>, and other romantic <a href="/wiki/Trope_(literature)" title="Trope (literature)">tropes</a>.<a href="#cite_note-20">[20]</a> It developed further from the epics as time went on; in particular, "the emphasis on love and courtly manners distinguishes it from the <a href="/wiki/Chanson_de_geste" title="Chanson de geste">chanson de geste</a> and other kinds of <a href="/wiki/Epic_poetry" title="Epic poetry">epic</a>, in which masculine military heroism predominates."<a href="#cite_note-21">[21]</a> <div class="mw-heading mw-heading3"><h3 id="Later_influence">Later influence</h3>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=3" title="Edit section: Later influence">edit</a>]</div> <a href="/wiki/Edward_Dowden" title="Edward Dowden">Edward Dowden</a> argued that <a href="/wiki/Shakespeare%27s_late_romances" title="Shakespeare's late romances">Shakespeare's late comedies</a> should be called "romances", because they resemble late medieval and early modern "chivalric romance".<a href="#cite_note-22">[22]</a> The rise of the modern novel as an alternative to the <a href="/wiki/Chivalric_romance" title="Chivalric romance">chivalric romance</a> began with <a href="/wiki/Miguel_de_Cervantes" title="Miguel de Cervantes">Miguel de Cervantes</a>, and, especially with, <a href="/wiki/Don_Quixote" title="Don Quixote">Don Quixote</a> (1605, 1615).<a href="#cite_note-23">[23]</a> Initially seen as a comedy satirizing chivalry, in the 19th century it was seen as a social commentary, but no one could easily tell "whose side Cervantes was on". Many critics came to view the work as a tragedy in which Don Quixote's idealism and <a href="/wiki/Nobility" title="Nobility">nobility</a> are viewed by the post-chivalric world as insane, and are defeated and rendered useless by common reality.<a href="#cite_note-24">[24]</a> While the modern literary fiction romance was influenced by medieval romance via the Gothic novel, and the interest of Romantic writers in the medieval period, <a href="/wiki/William_Morris" title="William Morris">William Morris</a> and J. R. R. Tolkien were directly influenced by medieval literature. In the nineteenth century <a href="/wiki/William_Morris" title="William Morris">William Morris</a> wrote a series of imaginative fictions usually referred to as the "prose romances",<a href="#cite_note-25">[25]</a><a href="#cite_note-FOOTNOTEFaulkner198347-26">[26]</a> which were attempts to revive the genre of <a href="/wiki/Medieval_romance" class="mw-redirect" title="Medieval romance">medieval romance</a>, and written in imitation of medieval prose. These novels – including <a href="/wiki/The_Wood_Beyond_the_World" title="The Wood Beyond the World">The Wood Beyond the World</a> and <a href="/wiki/The_Well_at_the_World%27s_End" title="The Well at the World's End">The Well at the World's End</a> – have been credited as important milestones in the history of <a href="/wiki/Fantasy" title="Fantasy">fantasy</a> fiction, because, while other writers wrote of foreign lands, or of dream worlds, or the future (as Morris did in News from Nowhere), Morris's works were the first to be set in an entirely invented <a href="/wiki/Fantasy_world" title="Fantasy world">fantasy world</a>.<a href="#cite_note-doubleday-27">[27]</a> On its publication, The Well at the World's End was praised by <a href="/wiki/H._G._Wells" title="H. G. Wells">H. G. Wells</a>, who compared the book to <a href="/wiki/Thomas_Malory" title="Thomas Malory">Malory</a> and admired its writing style.<a href="#cite_note-28">[28]</a> <a href="/wiki/J._R._R._Tolkien" title="J. R. R. Tolkien">J. R. R. Tolkien</a> objected to <a href="/wiki/The_Lord_of_the_Rings" title="The Lord of the Rings">The Lord of the Rings</a> being called a novel, as he viewed it as a <a href="/wiki/Heroic_romance" class="mw-redirect" title="Heroic romance">heroic romance</a>.<a href="#cite_note-29">[29]</a> Literary critics also apply the term <a href="/wiki/High_fantasy" title="High fantasy">high fantasy</a> to The Lord of the Rings.<a href="#cite_note-30">[30]</a> While <a href="/wiki/Fantasy" title="Fantasy">fantasy</a> is, generally speaking, not significant in the works of romance writers, Walter Scott's definition includes "marvellous and uncommon incidents". Hawthorne, as noted above, also described romance as "not being concerned with the possible or probable course of ordinary experience". <div class="mw-heading mw-heading2"><h2 id="Gothic_novel">Gothic novel</h2>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=4" title="Edit section: Gothic novel">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Dark_romanticism" class="mw-redirect" title="Dark romanticism">Dark romanticism</a>; <a href="/wiki/American_Gothic_fiction" title="American Gothic fiction">American Gothic fiction</a>; and <a href="/wiki/Gothic_fiction#Contemporary_developments_in_Germany,_France_and_Russia" title="Gothic fiction">Gothic fiction § Contemporary developments in Germany, France and Russia</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Lewismonk.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/fe/Lewismonk.png/220px-Lewismonk.png" decoding="async" width="220" height="370" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/fe/Lewismonk.png/330px-Lewismonk.png 1.5x, //upload.wikimedia.org/wikipedia/commons/f/fe/Lewismonk.png 2x" data-file-width="362" data-file-height="608" /></a><figcaption>Matthew Lewis, <a href="/wiki/The_Monk" title="The Monk">The Monk</a> (1795)</figcaption></figure> From 1764, with the <a href="/wiki/Horace_Walpole" title="Horace Walpole">Horace Walpole</a>'s <a href="/wiki/Gothic_novel" class="mw-redirect" title="Gothic novel">gothic novel</a> <a href="/wiki/The_Castle_of_Otranto" title="The Castle of Otranto">The Castle of Otranto</a>, the romance genre experienced a revival. Other important works are <a href="/wiki/Ann_Radcliffe" title="Ann Radcliffe">Ann Radcliffe</a>'s <a href="/wiki/The_Mysteries_of_Udolpho" title="The Mysteries of Udolpho">The Mysteries of Udolpho</a> (1794) and <a href="/wiki/Matthew_Lewis_(writer)" class="mw-redirect" title="Matthew Lewis (writer)">'Monk' Lewis</a>'s <a href="/wiki/The_Monk" title="The Monk">The Monk</a> (1795). In the preface of the second edition, Walpole claims The Castle of Otranto is "an attempt to blend the two kinds of <a href="/wiki/Romanticism#Literature" title="Romanticism">romance</a>, the ancient and the modern." He defines the "ancient" romance as being defined by its fantastic nature ("its imagination and improbability") while defining the "modern" romance as being more deeply rooted in <a href="/wiki/Literary_realism" title="Literary realism">literary realism</a> ("a strict adherence to common life," in his words).<a href="#cite_note-2nd_Preface-31">[31]</a> By combining fantastic situations (helmets falling from the sky, walking portraits, etc.) with supposedly real people acting in a "natural" manner, Walpole created a new and distinct style of <a href="/wiki/Literary_fiction" title="Literary fiction">literary fiction</a>, which has frequently been cited as a template for all subsequent gothic novels.<a href="#cite_note-Allison-32">[32]</a><a href="#cite_note-Missing-33">[33]</a> <a href="/wiki/Monthly_Review_(London)" class="mw-redirect" title="Monthly Review (London)">The Monthly Review</a> stated that for "[t]hose who can digest the absurdities of Gothic fiction" Otranto offered "considerable entertainment".<a href="#cite_note-34">[34]</a> <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote">The Castle of Otranto is widely regarded as the first Gothic novel, and, with its knights, villains, wronged maidens, haunted corridors and things that go bump in the night, is the spiritual godfather of Frankenstein and Dracula, the creaking floorboards of Edgar Allan Poe and the shifting stairs and walking portraits of Harry Potter’s Hogwarts.<div class="templatequotecite">— <cite>"Strawberry Hill, Horace Walpole's fantasy castle, to open its doors again", The Guardian.<a href="#cite_note-35">[35]</a></cite></div></blockquote> <a href="/wiki/Charles_Dickens" title="Charles Dickens">Charles Dickens</a> was influenced by <a href="/wiki/Gothic_fiction" title="Gothic fiction">gothic fiction</a> and incorporated gothic imagery, settings and plot devices in his works.<a href="#cite_note-36">[36]</a> Victorian gothic moved from castles and abbeys into contemporary urban environments: in particular London, in <a href="/wiki/Oliver_Twist" title="Oliver Twist">Oliver Twist</a>, and <a href="/wiki/Bleak_House" title="Bleak House">Bleak House</a>.<a href="#cite_note-37">[37]</a> <a href="/wiki/Great_Expectations" title="Great Expectations">Great Expectations</a> contains elements of the <a href="/wiki/Gothic_novel" class="mw-redirect" title="Gothic novel">Gothic genre</a>, especially Miss Havisham, the bride frozen in time, and the ruined Satis House filled with weeds and spiders.<a href="#cite_note-victorianweb.org-38">[38]</a> Other characters linked to this genre include the aristocratic Bentley Drummle, because of his extreme cruelty; Pip himself, who spends his youth chasing a frozen beauty; the monstrous Orlick, who systematically attempts to murder his employers. Then there is the fight to the death between Compeyson and Magwitch, and the fire that ends up killing Miss Havisham, scenes dominated by horror, suspense, and the sensational.<a href="#cite_note-Davis_134-5-39">[39]</a> <div class="mw-heading mw-heading2"><h2 id="Historical_romance">Historical romance</h2>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=5" title="Edit section: Historical romance">edit</a>]</div> <a href="/wiki/Historical_romance" title="Historical romance">Historical romance</a> (also <a href="/wiki/Historical_novel" class="mw-redirect" title="Historical novel">historical novel</a>) is a broad category of fiction in which the plot takes place in a setting located in the past. <a href="/wiki/Walter_Scott" title="Walter Scott">Walter Scott</a> helped popularize this genre in the early 19th century. <a href="/wiki/Literary_fiction" title="Literary fiction">Literary fiction</a> historical romances continue to be published, and a notable recent example is <a href="/wiki/Wolf_Hall" title="Wolf Hall">Wolf Hall</a> (2009), a multi-award-winning novel by English historical novelist <a href="/wiki/Hilary_Mantel" title="Hilary Mantel">Hilary Mantel</a>. It is also a <a href="/wiki/Genre_fiction" title="Genre fiction">genre</a> of <a href="/wiki/Mass-market" class="mw-redirect" title="Mass-market">mass-market</a> fiction, which is related to the broader <a href="/wiki/Romance_novel" title="Romance novel">romantic love</a> genre. <div class="mw-heading mw-heading3"><h3 id="Walter_Scott">Walter Scott</h3>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=6" title="Edit section: Walter Scott">edit</a>]</div> <a href="/wiki/Walter_Scott" title="Walter Scott">Walter Scott</a> with <a href="/wiki/Waverley_(novel)" title="Waverley (novel)">Waverley</a> (1814) invented "the true historical novel".<a href="#cite_note-The_Bloomsbury_Guide_p._885-40">[40]</a> At the same time he was influenced by <a href="/wiki/Gothic_romance" class="mw-redirect" title="Gothic romance">gothic romance</a>, and had collaborated in 1801 with <a href="/wiki/Matthew_Lewis_(writer)" class="mw-redirect" title="Matthew Lewis (writer)">'Monk' Lewis</a> on Tales of Wonder.<a href="#cite_note-The_Bloomsbury_Guide_p._885-40">[40]</a> With his <a href="/wiki/Waverley_novels" title="Waverley novels">Waverley novels</a> Scott "hoped to do for the Scottish border" what <a href="/wiki/Goethe" class="mw-redirect" title="Goethe">Goethe</a> and other German poets "had done for the <a href="/wiki/Middle_Ages" title="Middle Ages">Middle Ages</a>, "and make its past live again in modern romance".<a href="#cite_note-41">[41]</a> Scott's novels "are in the mode he himself defined as romance, 'the interest of which turns upon marvelous and uncommon incidents'".<a href="#cite_note-norton-42">[42]</a> He used his imagination to re-evaluate history by rendering things, incidents and protagonists in the way only the novelist could do. Scott, the novelist, resorted to documentary sources as any historian would have done, but as a romantic he gave his subject a deeper imaginative and emotional significance.<a href="#cite_note-norton-42">[42]</a> By combining research with "marvelous and uncommon incidents", Scott attracted a far wider market than any historian could, and was the most famous novelist of his generation, <a href="/wiki/Historical_fiction#19th_century" title="Historical fiction">throughout Europe</a>.<a href="#cite_note-The_Bloomsbury_Guide_p._885-40">[40]</a> Scott influenced many nineteenth-century British novelists, including <a href="/wiki/Edward_Bulwer-Lytton" title="Edward Bulwer-Lytton">Edward Bulwer-Lytton</a>, <a href="/wiki/Charles_Kingsley" title="Charles Kingsley">Charles Kingsley</a>, and <a href="/wiki/Robert_Louis_Stevenson" title="Robert Louis Stevenson">Robert Louis Stevenson</a>, and those who wrote for children, like <a href="/wiki/Charlotte_Yonge" class="mw-redirect" title="Charlotte Yonge">Charlotte Yonge</a> and <a href="/wiki/G._A._Henty" title="G. A. Henty">G. A. Henty</a>.<a href="#cite_note-43">[43]</a> Walter Scott had an immense impact throughout Europe. "His historical fiction ... created for the first time a sense of the past as a place where people thought, felt and dressed differently".<a href="#cite_note-44">[44]</a> His historical romances "influenced <a href="/wiki/Balzac" class="mw-redirect" title="Balzac">Balzac</a>, <a href="/wiki/Dostoevsky" class="mw-redirect" title="Dostoevsky">Dostoevsky</a>, <a href="/wiki/Flaubert" class="mw-redirect" title="Flaubert">Flaubert</a>, <a href="/wiki/Tolstoy" class="mw-redirect" title="Tolstoy">Tolstoy</a>, <a href="/wiki/Alexandre_Dumas" title="Alexandre Dumas">Dumas</a>, <a href="/wiki/Pushkin" class="mw-redirect" title="Pushkin">Pushkin</a>, and many others; and his interpretation of history was seized on by <a href="/wiki/Romantic_nationalism" title="Romantic nationalism">Romantic nationalists</a>, particularly in <a href="/wiki/Eastern_Europe" title="Eastern Europe">Eastern Europe</a>".<a href="#cite_note-45">[45]</a> Auguste- Jean-Baptiste Defauconpret (1767–1843) "the principal French translator of the Waverley Novels, played a pivotal role in the diffusion of Scott's work throughout Europe". "In Italy, Poland, Russia, and Spain they were widely read long before indigenous versions appeared."<a href="#cite_note-46">[46]</a> The reception of Sir Walter Scott in Europe, edited by Murray Pittock, has articles on Scott's influence on the novels throughout Europe, including France, Spain, Austria, Germany, Russia, Czechoslovakia, Hungary, Poland, Denmark, Norway, and Sweden.<a href="#cite_note-47">[47]</a> (See also, "Other authors", below). In America he influenced Fenimore Cooper and Nathaniel Hawthorne, amongst others.<a href="#cite_note-48">[48]</a><a href="#cite_note-49">[49]</a> <div class="mw-heading mw-heading3"><h3 id="Relationship_with_Romanticism">Relationship with Romanticism</h3>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=7" title="Edit section: Relationship with Romanticism">edit</a>]</div> Romance is closely associated with the <a href="/wiki/Romantic_movement" class="mw-redirect" title="Romantic movement">Romantic movement</a>.<a href="#cite_note-50">[50]</a> The <a href="/wiki/Gothic_novel" class="mw-redirect" title="Gothic novel">gothic novel</a>, and <a href="/wiki/Romanticism" title="Romanticism">romanticism</a> influenced the development of the modern literary romance. <a href="/wiki/Hugh_Walpole" title="Hugh Walpole">Hugh Walpole</a>'s gothic novels combine elements of the medieval romance, which he deemed too fanciful, and the modern novel, which he considered to be too confined to strict realism.<a href="#cite_note-51">[51]</a> Romanticism influenced the romance through its emphasis on emotion and individualism as well as glorification of all the past and nature, and preference for the <a href="/wiki/Medieval" class="mw-redirect" title="Medieval">medieval</a> rather than the <a href="/wiki/Classical_antiquity" title="Classical antiquity">classical</a>; its emphasis on extremes of emotion and its reaction against the perceived constraints of rationalism imposed by the Enlightenment, and associated classical aesthetic values, were also a significant influence.<a href="#cite_note-52">[52]</a> Walter Scott's novels are frequently described as historical romances, and <a href="/wiki/Northrop_Frye" title="Northrop Frye">Northrop Frye</a> suggested "the general principle that most 'historical novels' are romances".<a href="#cite_note-53">[53]</a> In addition to Walpole, Scott, and the Brontës other romance writers (as defined by Scott) include <a href="/wiki/E._T._A._Hoffmann" title="E. T. A. Hoffmann">E. T. A. Hoffmann</a>, <a href="/wiki/Victor_Hugo" title="Victor Hugo">Victor Hugo</a>, <a href="/wiki/Nathaniel_Hawthorne" title="Nathaniel Hawthorne">Nathaniel Hawthorne</a>, <a href="/wiki/Robert_Louis_Stevenson" title="Robert Louis Stevenson">Robert Louis Stevenson</a>, and <a href="/wiki/Thomas_Hardy" title="Thomas Hardy">Thomas Hardy</a>. In the twentieth century, examples are <a href="/wiki/Joseph_Conrad" title="Joseph Conrad">Joseph Conrad</a>, <a href="/wiki/John_Cowper_Powys" title="John Cowper Powys">John Cowper Powys</a>, and more recently, <a href="/wiki/J._R._R._Tolkien" title="J. R. R. Tolkien">J. R. R. Tolkien</a> and <a href="/wiki/A._S._Byatt" title="A. S. Byatt">A. S. Byatt</a>, whose best-selling novel <a href="/wiki/Possession_(Byatt_novel)" title="Possession (Byatt novel)">Possession: A Romance</a> won the <a href="/wiki/Booker_Prize" title="Booker Prize">Booker Prize</a> in 1990. <div class="mw-heading mw-heading2"><h2 id="Love_romance">Love romance</h2>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=8" title="Edit section: Love romance">edit</a>]</div> <a href="/wiki/Romance_novel" title="Romance novel">The genre of works of extended prose fiction dealing with romantic love</a> existed in classical Greece.<a href="#cite_note-Collected_Ancient_Greek_Novels-54">[54]</a> Five ancient Greek romance novels have survived to the present day in a state of near-completion: <a href="/wiki/Chariton" title="Chariton">Chareas and Callirhoe</a>, <a href="/wiki/Leucippe_and_Clitophon" title="Leucippe and Clitophon">Leucippe and Clitophon</a>, <a href="/wiki/Daphnis_and_Chloe" title="Daphnis and Chloe">Daphnis and Chloe</a>, <a href="/wiki/Ephesian_Tale" title="Ephesian Tale">The Ephesian Tale</a>, and <a href="/wiki/Aethiopica" title="Aethiopica">The Ethiopian Tale</a>.<a href="#cite_note-Collected_Ancient_Greek_Novels-54">[54]</a> Precursors of the modern popular love-romance can also be found in the <a href="/wiki/Sentimental_novel" title="Sentimental novel">sentimental novel</a> <a href="/wiki/Pamela,_or_Virtue_Rewarded" class="mw-redirect" title="Pamela, or Virtue Rewarded">Pamela, or Virtue Rewarded</a>, by <a href="/wiki/Samuel_Richardson" title="Samuel Richardson">Samuel Richardson</a>, published in 1740. Pamela was the first popular novel to be based on a courtship as told from the perspective of the heroine. Unlike many of the novels of the time, Pamela had a happy ending, when after Mr. B attempts unsuccessfully to seduce and rape Pamela multiple times, he eventually rewards her virtue by sincerely proposing an equitable marriage to her.<a href="#cite_note-55">[55]</a> Richardson began writing Pamela as a book of letter templates,<a href="#cite_note-56">[56]</a> in the tradition of the <a href="/wiki/Conduct_book" title="Conduct book">conduct book</a>, that evolved into a novel. In the early part of the <a href="/wiki/Victorian_era" title="Victorian era">Victorian era</a>, the <a href="/wiki/Bront%C3%AB" class="mw-redirect" title="Brontë">Brontë sisters</a>, like Austen, wrote literary fiction that influenced later popular fiction.<a href="#cite_note-Regis_2003,_p._85-57">[57]</a> <a href="/wiki/Charlotte_Bront%C3%AB" title="Charlotte Brontë">Charlotte Brontë</a>'s <a href="/wiki/Jane_Eyre" title="Jane Eyre">Jane Eyre</a> incorporates elements of both the <a href="/wiki/Gothic_fiction" title="Gothic fiction">gothic novel</a> and <a href="/wiki/Elizabethan_drama" class="mw-redirect" title="Elizabethan drama">Elizabethan drama</a>, and "demonstrate[s] the flexibility of the romance novel form".<a href="#cite_note-Regis_2003,_p._85-57">[57]</a> One 2007 British poll presented Wuthering Heights as the greatest love story of all time.<a href="#cite_note-58">[58]</a> However, "some of the novel's admirers consider it not a love story at all but an exploration of evil and abuse".<a href="#cite_note-Young-59">[59]</a> <a href="/wiki/Helen_Small" title="Helen Small">Helen Small</a> sees Wuthering Heights as being, both "one of the greatest love stories in the English language", while at the same time a "most brutal revenge narratives".<a href="#cite_note-60">[60]</a> Some critics suggest that reading Wuthering Heights as a love story not only "romanticizes abusive men and toxic relationships but goes against Brontë's clear intent".<a href="#cite_note-Young-59">[59]</a> Moreover, while a "passionate, doomed, death-transcending relationship between Heathcliff and Catherine Earnshaw Linton forms the core of the novel",<a href="#cite_note-Young-59">[59]</a> Wuthering Heights <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote">consistently subverts the romantic narrative. Our first encounter with Heathcliff shows him to be a nasty bully. Later, Brontë puts in Heathcliff's mouth an explicit warning not to turn him into a Byronic hero: After ... Isabella elop[es] with him, he sneers that she did so "under a delusion ... picturing in me a hero of romance".<a href="#cite_note-Young-59">[59]</a></blockquote> Emily Brontë was influenced by Walter Scott, the gothic novel, and romanticism more broadly.<a href="#cite_note-61">[61]</a><a href="#cite_note-62">[62]</a> Critic <a href="/wiki/Christopher_Lehmann-Haupt" title="Christopher Lehmann-Haupt">Christopher Lehmann-Haupt</a>, writing about <a href="/wiki/A._S._Byatt" title="A. S. Byatt">A. S. Byatt</a>'s <a href="/wiki/Possession_(Byatt_novel)" title="Possession (Byatt novel)">Possession: A Romance</a> in the New York Times, noted that what he describes as the "wonderfully extravagant novel" is "pointedly subtitled 'A Romance'."<a href="#cite_note-nytimes-63">[63]</a> He says it is at once "a detective story" and "an adultery novel."<a href="#cite_note-nytimes-63">[63]</a> Many famous literary fiction romance novels, unlike most mass-market novels, end tragically, including <a href="/wiki/Wuthering_Heights" title="Wuthering Heights">Wuthering Heights</a> by <a href="/wiki/Emily_Bront%C3%AB" title="Emily Brontë">Emily Brontë</a>, <a href="/wiki/Anna_Karenina" title="Anna Karenina">Anna Karenina</a> by <a href="/wiki/Leo_Tolstoy" title="Leo Tolstoy">Leo Tolstoy</a>, <a href="/wiki/The_Thorn_Birds" title="The Thorn Birds">The Thorn Birds</a> by <a href="/wiki/Colleen_McCullough" title="Colleen McCullough">Colleen McCullough</a>, <a href="/wiki/Norwegian_Wood_(novel)" title="Norwegian Wood (novel)">Norwegian Wood</a> by <a href="/wiki/Haruki_Murakami" title="Haruki Murakami">Haruki Murakami</a>, <a href="/wiki/Atonement" title="Atonement">Atonement</a> by <a href="/wiki/Ian_McEwan" title="Ian McEwan">Ian McEwan</a>, and <a href="/wiki/The_Song_of_Achilles" title="The Song of Achilles">The Song of Achilles</a> by <a href="/wiki/Madeline_Miller" title="Madeline Miller">Madeline Miller</a>.<a href="#cite_note-tragiclove-64">[64]</a><a href="#cite_note-tragiclovea-65">[65]</a> Genre fiction romance novels, first developed in the 19th century, started to become more popular after the <a href="/wiki/First_World_War" class="mw-redirect" title="First World War">First World War</a>. In 1919, <a href="/wiki/E.M._Hull" class="mw-redirect" title="E.M. Hull">E.M. Hull</a>'s novel <a href="/wiki/The_Sheik_(novel)" title="The Sheik (novel)">The Sheik</a> was published in the <a href="/wiki/United_Kingdom" title="United Kingdom">United Kingdom</a>. The novel, which became hugely popular, was adapted into a <a href="/wiki/The_Sheik_(film)" title="The Sheik (film)">movie</a> (1921).<a href="#cite_note-66">[66]</a> The mass market version of the historical romance, is seen as beginning in 1921, when <a href="/wiki/Georgette_Heyer" title="Georgette Heyer">Georgette Heyer</a> published The Black Moth. This is set in 1751, but many of Heyer's novels were inspired by <a href="/wiki/Jane_Austen" title="Jane Austen">Jane Austen</a>'s novels and <a href="/wiki/Regency_romance" title="Regency romance">are set around the time Austen lived</a>, in the later <a href="/wiki/Regency_period" class="mw-redirect" title="Regency period">Regency period</a>. Because Heyer's romances are set more than 100 years earlier, she includes carefully researched historical detail to help her readers understand the period.<a href="#cite_note-67">[67]</a> Unlike other popular love-romance novels of the time, Heyer's novels used the setting as a major plot device. Her characters often exhibit twentieth century sensibilities, and more conventional characters in the novels point out the heroine's eccentricities, such as wanting to marry for love.<a href="#cite_note-68">[68]</a> In the 1930s the British publishers <a href="/wiki/Mills_%26_Boon" title="Mills & Boon">Mills & Boon</a> began releasing hardback romance novels. The books were sold through weekly two-penny libraries. In the 1950s the company began offering the books for sale through newsagents across the United Kingdom.<a href="#cite_note-mandb-69">[69]</a> <div class="mw-heading mw-heading2"><h2 id="Sensation_novel">Sensation novel</h2>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=9" title="Edit section: Sensation novel">edit</a>]</div> The <a href="/wiki/Sensation_novel" title="Sensation novel">sensation novel</a> was a <a href="/wiki/Literary_genre" title="Literary genre">literary genre</a> of fiction that achieved peak popularity in Great Britain in the 1860s and 1870s.<a href="#cite_note-auto-70">[70]</a> Its literary forebears included the <a href="/wiki/Melodrama" title="Melodrama">melodramatic</a> novels and the <a href="/wiki/Newgate_novel" title="Newgate novel">Newgate novels</a>, it also drew on the <a href="/wiki/Gothic_fiction" title="Gothic fiction">Gothic</a> and <a href="/wiki/Romance_(heroic_literature)" class="mw-redirect" title="Romance (heroic literature)">romantic</a> <a href="/wiki/Genre_fiction" title="Genre fiction">genres of fiction</a>.<a href="#cite_note-71">[71]</a> Whereas romance and realism had traditionally been contradictory modes of literature, they were brought together in sensation fictionof the <a href="/wiki/Victorian_era" title="Victorian era">Victorian era</a> – combining "romance and realism" in a way that "strains both modes to the limit".<a href="#cite_note-Hughes-72">[72]</a><a href="#cite_note-73">[73]</a> The loss of identity is seen in many sensation fiction stories because this was a common social anxiety.<a href="#cite_note-Pykett_Lyn_1868-74">[74]</a> Sensation fiction is commonly seen to have emerged as a definable genre in the wake of three novels: <a href="/wiki/Wilkie_Collins" title="Wilkie Collins">Wilkie Collins</a>'s <a href="/wiki/The_Woman_in_White_(novel)" title="The Woman in White (novel)">The Woman in White</a> (1859–60); <a href="/wiki/Ellen_Wood_(author)" title="Ellen Wood (author)">Ellen (Mrs. Henry) Wood</a>'s <a href="/wiki/East_Lynne" title="East Lynne">East Lynne</a> (1861); and <a href="/wiki/Mary_Elizabeth_Braddon" title="Mary Elizabeth Braddon">Mary Elizabeth Braddon</a>'s <a href="/wiki/Lady_Audley%27s_Secret" title="Lady Audley's Secret">Lady Audley's Secret</a> (1862).<a href="#cite_note-75">[75]</a> Charles Dickens' <a href="/wiki/Great_Expectations" title="Great Expectations">Great Expectations</a> (1861) is another example.<a href="#cite_note-76">[76]</a> <div class="mw-heading mw-heading2"><h2 id="Adventure_fiction">Adventure fiction</h2>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=10" title="Edit section: Adventure fiction">edit</a>]</div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Stevenson_-_Treasure_island,_1933.djvu" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Stevenson_-_Treasure_island%2C_1933.djvu/page1-220px-Stevenson_-_Treasure_island%2C_1933.djvu.jpg" decoding="async" width="220" height="299" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Stevenson_-_Treasure_island%2C_1933.djvu/page1-330px-Stevenson_-_Treasure_island%2C_1933.djvu.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Stevenson_-_Treasure_island%2C_1933.djvu/page1-440px-Stevenson_-_Treasure_island%2C_1933.djvu.jpg 2x" data-file-width="2744" data-file-height="3726" /></a><figcaption>R. L. Stevenson, Treasure island</figcaption></figure> Critic <a href="/wiki/Don_D%27Ammassa" title="Don D'Ammassa">Don D'Ammassa</a> defines the <a href="/wiki/Adventure_fiction" title="Adventure fiction">adventure fiction</a> genre as follows: <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote"> An adventure is an event or series of events that happens outside the course of the protagonist's ordinary life, usually accompanied by danger, often by physical action. Adventure stories almost always move quickly, and the pace of the plot is at least as important as characterization, setting and other elements of a creative work.<a href="#cite_note-d'ammasssa-77">[77]</a></blockquote> D'Ammassa argues that <a href="/wiki/Adventure_fiction" title="Adventure fiction">adventure fiction</a> makes the element of danger the focus; hence he argues that <a href="/wiki/Charles_Dickens" title="Charles Dickens">Charles Dickens</a>'s novel <a href="/wiki/A_Tale_of_Two_Cities" title="A Tale of Two Cities">A Tale of Two Cities</a> is an adventure novel because the protagonists are in constant danger of being imprisoned or killed, whereas Dickens's <a href="/wiki/Great_Expectations" title="Great Expectations">Great Expectations</a> is not because "Pip's encounter with the convict is an adventure, but that scene is only a device to advance the main plot, which is not truly an adventure."<a href="#cite_note-d'ammasssa-77">[77]</a> The standard plot of Medieval romances was a series of adventures. Following a plot framework as old as <a href="/wiki/Heliodorus_of_Emesa" title="Heliodorus of Emesa">Heliodorus</a>, and so durable as to be still alive in <a href="/wiki/Adventure_film" title="Adventure film">Hollywood movies</a>, a <a href="/wiki/Hero" title="Hero">hero</a> would undergo a first set of adventures before he met his lady. A separation would follow, with a second set of adventures leading to a final reunion. Variations kept the genre alive. From the mid-19th century onwards, when mass literacy grew, adventure became a popular subgenre of fiction. Although not exploited to its fullest, adventure has seen many changes over the years – from being constrained to stories of knights in armor to stories of high-tech espionages. Examples of that period include <a href="/wiki/Sir_Walter_Scott" class="mw-redirect" title="Sir Walter Scott">Sir Walter Scott</a>, <a href="/wiki/Alexandre_Dumas,_p%C3%A8re" class="mw-redirect" title="Alexandre Dumas, père">Alexandre Dumas, père</a>,<a href="#cite_note-78">[78]</a> <a href="/wiki/Jules_Verne" title="Jules Verne">Jules Verne</a>, <a href="/wiki/Bront%C3%AB_Sisters" class="mw-redirect" title="Brontë Sisters">Brontë Sisters</a>, <a href="/wiki/H._Rider_Haggard" title="H. Rider Haggard">H. Rider Haggard</a>, <a href="/wiki/Victor_Hugo" title="Victor Hugo">Victor Hugo</a>,<a href="#cite_note-79">[79]</a> <a href="/wiki/Emilio_Salgari" title="Emilio Salgari">Emilio Salgari</a>, <a href="/wiki/Louis_Henri_Boussenard" title="Louis Henri Boussenard">Louis Henri Boussenard</a>, <a href="/wiki/Thomas_Mayne_Reid" title="Thomas Mayne Reid">Thomas Mayne Reid</a>, <a href="/wiki/Sax_Rohmer" title="Sax Rohmer">Sax Rohmer</a>, <a href="/wiki/Edgar_Wallace" title="Edgar Wallace">Edgar Wallace</a>, and <a href="/wiki/Robert_Louis_Stevenson" title="Robert Louis Stevenson">Robert Louis Stevenson</a>. <a href="/wiki/Rider_Haggard" class="mw-redirect" title="Rider Haggard">Rider Haggard</a> (1856–1925), author of <a href="/wiki/King_Solomon%27s_Mines" title="King Solomon's Mines">King Solomon's Mines</a> ("romantic adventure"),<a href="#cite_note-80">[80]</a> <a href="/wiki/She:_A_History_of_Adventure" title="She: A History of Adventure">She: A History of Adventure</a>, was an English writer of <a href="/wiki/Adventure_fiction" title="Adventure fiction">adventure fiction</a> set in exotic locations, predominantly Africa, and a pioneer of the <a href="/wiki/Lost_World_(genre)" class="mw-redirect" title="Lost World (genre)">lost world</a> literary genre.<a href="#cite_note-81">[81]</a> He was "part of the literary reaction against <a href="/wiki/Domestic_realism" title="Domestic realism">domestic realism</a> that has been called a romance revival."<a href="#cite_note-:0-82">[82]</a> Other writers following this trend were <a href="/wiki/Robert_Louis_Stevenson" title="Robert Louis Stevenson">Robert Louis Stevenson</a>, <a href="/wiki/George_MacDonald" title="George MacDonald">George MacDonald</a>, and <a href="/wiki/William_Morris" title="William Morris">William Morris</a>.<a href="#cite_note-:0-82">[82]</a> <a href="/wiki/Robert_Louis_Stevenson" title="Robert Louis Stevenson">Robert Louis Stevenson</a>, wrote romances, including historical romances, in which <a href="/wiki/Adventure_fiction" title="Adventure fiction">adventure</a> is often a prominent element ("adventure, heroism, chivalry", amongst other things, are associated with the word "romance" according to the OED). These include <a href="/wiki/Treasure_Island" title="Treasure Island">Treasure Island</a> (1883) – an adventure novel about piracy and buried treasure; <a href="/wiki/Prince_Otto" title="Prince Otto">Prince Otto</a> (1885) – an action romance set in the imaginary Germanic state; <a href="/wiki/Strange_Case_of_Dr_Jekyll_and_Mr_Hyde" title="Strange Case of Dr Jekyll and Mr Hyde">Strange Case of Dr Jekyll and Mr Hyde</a> (1886) – A kind and intelligent physician turns into a psychopathic monster after imbibing a drug intended to separate good from evil in a personality (a gothic novel); <a href="/wiki/Kidnapped_(novel)" title="Kidnapped (novel)">Kidnapped</a> (1886) – an historical novel; <a href="/wiki/The_Black_Arrow:_A_Tale_of_the_Two_Roses" title="The Black Arrow: A Tale of the Two Roses">The Black Arrow: A Tale of the Two Roses</a> (1888) – an historical adventure novel and romance set during the <a href="/wiki/Wars_of_the_Roses" title="Wars of the Roses">Wars of the Roses</a>, and <a href="/wiki/The_Master_of_Ballantrae" title="The Master of Ballantrae">The Master of Ballantrae</a>: A Winter's Tale (1889) – a tale of revenge, set in Scotland, America and India. <div class="mw-heading mw-heading2"><h2 id="Scientific_romances">Scientific romances</h2>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=11" title="Edit section: Scientific romances">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="H._G._Wells">H. G. Wells</h3>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=12" title="Edit section: H. G. Wells">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:First_Men_in_the_Moon_(1901)_frontispiece.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f2/First_Men_in_the_Moon_%281901%29_frontispiece.jpg/220px-First_Men_in_the_Moon_%281901%29_frontispiece.jpg" decoding="async" width="220" height="344" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f2/First_Men_in_the_Moon_%281901%29_frontispiece.jpg/330px-First_Men_in_the_Moon_%281901%29_frontispiece.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f2/First_Men_in_the_Moon_%281901%29_frontispiece.jpg/440px-First_Men_in_the_Moon_%281901%29_frontispiece.jpg 2x" data-file-width="1420" data-file-height="2220" /></a><figcaption>First Men in the Moon (1901). Frontispiece, illustration. Caption: "I was progressing in great leaps and bounds"</figcaption></figure> <a href="/wiki/H._G._Wells" title="H. G. Wells">H. G. Wells</a>'s <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote">genius was his ability to create a stream of brand new, wholly original stories out of thin air. Originality was Wells's calling card. In a six-year stretch from 1895 to 1901, he produced a stream of what he called "scientific romance" novels, which included <a href="/wiki/The_Time_Machine" title="The Time Machine">The Time Machine</a>, <a href="/wiki/The_Island_of_Doctor_Moreau" title="The Island of Doctor Moreau">The Island of Doctor Moreau</a>, <a href="/wiki/The_Invisible_Man" title="The Invisible Man">The Invisible Man</a>, <a href="/wiki/The_War_of_the_Worlds" title="The War of the Worlds">The War of the Worlds</a> and <a href="/wiki/The_First_Men_in_the_Moon" title="The First Men in the Moon">The First Men in the Moon</a>.<div class="templatequotecite">— <cite>Cultural historian <a href="/wiki/John_Higgs" title="John Higgs">John Higgs</a>, The Guardian.<a href="#cite_note-Higgs-83">[83]</a></cite></div></blockquote> <div class="mw-heading mw-heading3"><h3 id="Other_writers">Other writers</h3>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=13" title="Edit section: Other writers">edit</a>]</div> In the United Kingdom, Wells's work was a key model for the British "<a href="/wiki/Scientific_romance" title="Scientific romance">scientific romance</a>", and other writers in that mode, such as <a href="/wiki/Olaf_Stapledon" title="Olaf Stapledon">Olaf Stapledon</a>,<a href="#cite_note-84">[84]</a> <a href="/wiki/J._D._Beresford" title="J. D. Beresford">J. D. Beresford</a>,<a href="#cite_note-rb-85">[85]</a> <a href="/wiki/S._Fowler_Wright" title="S. Fowler Wright">S. Fowler Wright</a>,<a href="#cite_note-86">[86]</a> and <a href="/wiki/Naomi_Mitchison" title="Naomi Mitchison">Naomi Mitchison</a>,<a href="#cite_note-87">[87]</a> all drew on Wells's example. Wells was also an important influence on British <a href="/wiki/Science_fiction" title="Science fiction">science fiction</a> of the period after the Second World War, with <a href="/wiki/Arthur_C._Clarke" title="Arthur C. Clarke">Arthur C. Clarke</a> and <a href="/wiki/Brian_Aldiss" title="Brian Aldiss">Brian Aldiss</a> expressing strong admiration for Wells's work.<a href="#cite_note-88">[88]</a><a href="#cite_note-89">[89]</a> <a href="/wiki/The_Space_Machine" title="The Space Machine">The Space Machine</a>: A Scientific Romance, by English writer <a href="/wiki/Christopher_Priest_(novelist)" title="Christopher Priest (novelist)">Christopher Priest</a>, published in 1976, is another work influenced by Wells. This novel effectively combines the storylines of the H.G. Wells novels <a href="/wiki/The_War_of_the_Worlds" title="The War of the Worlds">The War of the Worlds</a> (1898) and <a href="/wiki/The_Time_Machine" title="The Time Machine">The Time Machine</a> (1895) into the same reality. Action takes place both in Victorian England and on Mars. In an interview with <a href="/wiki/The_Paris_Review" title="The Paris Review">The Paris Review</a>, <a href="/wiki/Vladimir_Nabokov" title="Vladimir Nabokov">Vladimir Nabokov</a> described Wells as his favourite writer when he was a boy and "a great artist."<a href="#cite_note-Nabokov-90">[90]</a> He went on to cite The Passionate Friends, <a href="/wiki/Ann_Veronica" title="Ann Veronica">Ann Veronica</a>, The Time Machine, and <a href="/wiki/The_Country_of_the_Blind" title="The Country of the Blind">The Country of the Blind</a> as superior to anything else written by Wells's British contemporaries. Nabokov said: "His sociological cogitations can be safely ignored, of course, but his romances and fantasies are superb."<a href="#cite_note-Nabokov-90">[90]</a> <div class="mw-heading mw-heading2"><h2 id="Other_authors_and_works">Other authors and works</h2>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=14" title="Edit section: Other authors and works">edit</a>]</div> As noted, many European languages do not distinguish romances from novels. In France, for example, le roman is the term used for a novel. <div class="mw-heading mw-heading3"><h3 id="United_Kingdom">United Kingdom</h3>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=15" title="Edit section: United Kingdom">edit</a>]</div> Though <a href="/wiki/Mary_Shelley" title="Mary Shelley">Mary Shelley</a>'s Frankenstein is infused with elements of the <a href="/wiki/Gothic_fiction" title="Gothic fiction">Gothic novel</a> and the <a href="/wiki/Romanticism" title="Romanticism">Romantic</a> movement, <a href="/wiki/Brian_Aldiss" title="Brian Aldiss">Brian Aldiss</a> has argued that it should be considered the first true <a href="/wiki/Science_fiction" title="Science fiction">science fiction</a> story.<a href="#cite_note-91">[91]</a> (See H. G. Wells's scientific romance above). <a href="/wiki/R._D._Blackmore" title="R. D. Blackmore">R. D. Blackmore</a> described <a href="/wiki/Lorna_Doone" title="Lorna Doone">Lorna Doone</a>: A Romance of Exmoor, (1869) in his preface, as a romance and not a historical novel, because the author neither "dares, nor desires, to claim for it the dignity or cumber it with the difficulty of an historical novel." As such, it combines elements of traditional romance, of Sir Walter Scott's historical novel tradition, of the <a href="/wiki/Pastoral" title="Pastoral">pastoral</a> tradition, of traditional Victorian values, and of the contemporary <a href="/wiki/Sensation_novel" title="Sensation novel">sensation novel</a> trend.<a href="#cite_note-92">[92]</a> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Two_on_a_Tower.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c2/Two_on_a_Tower.jpg/182px-Two_on_a_Tower.jpg" decoding="async" width="182" height="293" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c2/Two_on_a_Tower.jpg/274px-Two_on_a_Tower.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c2/Two_on_a_Tower.jpg/365px-Two_on_a_Tower.jpg 2x" data-file-width="942" data-file-height="1512" /></a><figcaption>Thomas Hardy, Two on a Tower</figcaption></figure> <a href="/wiki/Thomas_Hardy" title="Thomas Hardy">Thomas Hardy</a> classified his novels under three headings: "novels of character and environment", such as <a href="/wiki/Tess_of_the_D%27Urbervilles" class="mw-redirect" title="Tess of the D'Urbervilles">Tess of the D'Urbervilles</a>; "novels of ingenuity", such as <a href="/wiki/A_Laodicean" title="A Laodicean">A Laodicean</a>; "romances and fantasies", such as <a href="/wiki/A_Pair_of_Blue_Eyes" title="A Pair of Blue Eyes">A Pair of Blue Eyes</a> (1873); <a href="/wiki/The_Trumpet-Major" title="The Trumpet-Major">The Trumpet-Major</a> (1880); <a href="/wiki/Two_on_a_Tower" title="Two on a Tower">Two on a Tower: A Romance</a> (1882); <a href="/wiki/A_Group_of_Noble_Dames" title="A Group of Noble Dames">A Group of Noble Dames</a> (1891, a collection of short stories); <a href="/wiki/The_Well-Beloved" title="The Well-Beloved">The Well-Beloved</a>: A Sketch of a Temperament (1897) (first published as a serial from 1892) Amongst twentieth-century writers of romance are <a href="/wiki/Joseph_Conrad" title="Joseph Conrad">Joseph Conrad</a>, <a href="/wiki/Mary_Webb" title="Mary Webb">Mary Webb</a>, and <a href="/wiki/John_Cowper_Powys" title="John Cowper Powys">John Cowper Powys</a>. Joseph Conrad wrote <a href="/wiki/Romance_(novel)" title="Romance (novel)">Romance</a> (1905), and <a href="/wiki/The_Rescue_(Conrad_novel)" title="The Rescue (Conrad novel)">The Rescue</a>, A Romance of the Shallows (1920). Literary critic <a href="/wiki/John_Sutherland_(author)" title="John Sutherland (author)">John Sutherland</a> refers to Mary Webb as the pioneer of the genre of "soil and gloom romance".<a href="#cite_note-93">[93]</a> John Cowper Powys describes Walter Scott's romances, as "by far the most powerful literary influence of my life".<a href="#cite_note-94">[94]</a> In <a href="/wiki/A_Glastonbury_Romance" title="A Glastonbury Romance">A Glastonbury Romance</a> Powys makes use of <a href="/wiki/Arthurian_mythology" class="mw-redirect" title="Arthurian mythology">Arthurian mythology</a>, and the <a href="/wiki/Holy_Grail" title="Holy Grail">Holy Grail</a> story. <a href="/wiki/Porius:_A_Romance_of_the_Dark_Ages" title="Porius: A Romance of the Dark Ages">Porius: A Romance of the Dark Ages</a> is set during the end of <a href="/wiki/Roman_Britain#End_of_Roman_rule" title="Roman Britain">Roman rule in Britain</a>, with <a href="/wiki/King_Arthur" title="King Arthur">King Arthur</a>, <a href="/wiki/Myrddin" class="mw-redirect" title="Myrddin">Myrddin</a> (<a href="/wiki/Merlin" title="Merlin">Merlin</a>), <a href="/wiki/Lady_of_the_Lake" title="Lady of the Lake">Nineue</a> (Lady of the Lake), and two survivors of an ancient race of giants. When John Cowper Powys began <a href="/wiki/Owen_Glendower_(novel)" title="Owen Glendower (novel)">Owen Glendower</a> in April 1937 he referred to it in his diary, as "my Romance about <a href="/wiki/Owain_Glynd%C5%B5r" title="Owain Glyndŵr">Owen Glyn Dwr</a> ",<a href="#cite_note-95">[95]</a> but then, in subsequent years, he generally referred to it as a <a href="/wiki/Historical_novel" class="mw-redirect" title="Historical novel">historical novel</a>, and it was so sub-titled when it was published.<a href="#cite_note-96">[96]</a> <div class="mw-heading mw-heading3"><h3 id="America">America</h3>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=16" title="Edit section: America">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Title_page_for_The_Scarlet_Letter.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/7/75/Title_page_for_The_Scarlet_Letter.jpg" decoding="async" width="183" height="300" class="mw-file-element" data-file-width="183" data-file-height="300" /></a><figcaption>The Scarlett Letter (1850)</figcaption></figure> <a href="/wiki/The_Pilot:_A_Tale_of_the_Sea" title="The Pilot: A Tale of the Sea">The Pilot: A Tale of the Sea</a> is an early <a href="/wiki/Historical_romance" title="Historical romance">historical romance</a> by <a href="/wiki/James_Fenimore_Cooper" title="James Fenimore Cooper">James Fenimore Cooper</a>. Its subject is the life of a <a href="/wiki/Maritime_pilot" title="Maritime pilot">naval pilot</a> during the <a href="/wiki/American_Revolution" title="American Revolution">American Revolution</a>. It is often considered the earliest example of <a href="/wiki/Nautical_fiction" title="Nautical fiction">nautical fiction</a> in <a href="/wiki/American_literature" title="American literature">American literature</a>. A <a href="/wiki/Sailor" title="Sailor">sailor</a> by profession, Cooper had undertaken to surpass <a href="/wiki/Walter_Scott" title="Walter Scott">Walter Scott</a>'s <a href="/wiki/The_Pirate_(novel)" title="The Pirate (novel)">Pirate</a> (1821) in <a href="/wiki/Seamanship" title="Seamanship">seamanship</a>. Cooper's most famous romance is <a href="/wiki/Last_of_the_Mohicans" class="mw-redirect" title="Last of the Mohicans">Last of the Mohicans</a>. According to <a href="/wiki/Susan_Fenimore_Cooper" title="Susan Fenimore Cooper">Susan Fenimore Cooper</a>, Cooper first conceived the idea for the book while visiting the <a href="/wiki/Adirondack_Mountains" title="Adirondack Mountains">Adirondack Mountains</a> in 1825 with a party of Eglish gentlemen.<a href="#cite_note-Pages-97">[97]</a> The party passed through the <a href="/wiki/Catskill_Mountains" title="Catskill Mountains">Catskills</a>, an area with which Cooper was already familiar, They passed on to <a href="/wiki/Lake_George_(town),_New_York" title="Lake George (town), New York">Lake George</a> and <a href="/wiki/Glens_Falls" class="mw-redirect" title="Glens Falls">Glens Falls</a>. Impressed with the caves behind the falls, one member of the party suggested that "here was the very scene for a romance." Cooper promised "that a book should be written, in which these caves should have a place; the idea of a romance essentially Indian in character then first suggesting itself to his mind."<a href="#cite_note-Household-98">[98]</a> Cooper has been called the "American Walter Scott."<a href="#cite_note-99">[99]</a> Critic <a href="/wiki/Georg_Lukacs" class="mw-redirect" title="Georg Lukacs">Georg Lukacs</a> likened Fenimore Cooper's character <a href="/wiki/Bumppo" class="mw-redirect" title="Bumppo">Bumppo</a> in the <a href="/wiki/Leatherstocking_Tales" title="Leatherstocking Tales">Leatherstocking Tales</a> to Sir Walter Scott's "middling characters; because they do not represent the extremes of society, these figures can serve as tools for the social and cultural exploration of historical events, without directly portraying the history itself".<a href="#cite_note-100">[100]</a> In the mid–nineteenth century Hawthorne and Melville wrote romances. <a href="/wiki/Nathaniel_Hawthorne" title="Nathaniel Hawthorne">Nathaniel Hawthorne</a> wrote: <a href="/wiki/The_Scarlet_Letter:_A_Romance" class="mw-redirect" title="The Scarlet Letter: A Romance">The Scarlet Letter: A Romance</a> (1850); <a href="/wiki/The_House_of_the_Seven_Gables" title="The House of the Seven Gables">The House of the Seven Gables: A Romance</a>; <a href="/wiki/The_Blithedale_Romance" title="The Blithedale Romance">The Blithedale Romance</a>. <a href="/wiki/Herman_Melville" title="Herman Melville">Herman Melville</a> described <a href="/wiki/Moby-Dick" title="Moby-Dick">Moby-Dick</a> (1851) as a romance in a letter of June 27 to his English publisher: <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote">My Dear Sir, — In the latter part of the coming autumn I shall have ready a new work; and I write you now to propose its publication in England. The book is a romance of adventure, founded upon certain wild legends in the Southern Sperm Whale Fisheries, and illustrated by the author's own personal experience, of two years & more, as a harpooneer.<a href="#cite_note-101">[101]</a></blockquote> In the twentieth century <a href="/wiki/Flannery_O%27Connor" title="Flannery O'Connor">Flannery O'Connor</a> (1925–1964) often wrote in a sardonic <a href="/wiki/Southern_Gothic" title="Southern Gothic">Southern Gothic</a> style and relied heavily on regional settings and <a href="/wiki/Grotesque" title="Grotesque">grotesque</a> characters, often in violent situations. Her stories usually focus on morally flawed characters, frequently interacting with people with disabilities or disabled themselves (as O'Connor was), while the issue of race often appears. Most of her works feature disturbing elements.<a href="#cite_note-102">[102]</a> <div class="mw-heading mw-heading3"><h3 id="Germany">Germany</h3>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=17" title="Edit section: Germany">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Sturm_und_Drang" title="Sturm und Drang">Sturm und Drang</a></div> <a href="/wiki/E._T._A._Hoffmann" title="E. T. A. Hoffmann">E. T. A. Hoffmann</a> (1776–1822) was a German <a href="/wiki/Romanticism" title="Romanticism">Romantic</a> author of <a href="/wiki/Fantasy" title="Fantasy">fantasy</a> and <a href="/wiki/Gothic_fiction" title="Gothic fiction">Gothic</a> <a href="/wiki/Horror_fiction" title="Horror fiction">horror</a>.<a href="#cite_note-103">[103]</a><a href="#cite_note-104">[104]</a> <a href="/wiki/Ludwig_Tieck" title="Ludwig Tieck">Ludwig Tieck</a>, <a href="/wiki/Heinrich_von_Kleist" title="Heinrich von Kleist">Heinrich von Kleist</a>, and E. T. A. Hoffmann "also profoundly influenced the development of European Gothic horror in the nineteenth century".<a href="#cite_note-105">[105]</a> Hoffmann's novel <a href="/wiki/The_Devil%27s_Elixirs" title="The Devil's Elixirs">The Devil's Elixirs</a> (1815) was influenced by Lewis's <a href="/wiki/The_Monk" title="The Monk">The Monk</a> and even mentions it. The novel also explores the motif of the <a href="/wiki/Doppelg%C3%A4nger" title="Doppelgänger">Doppelgänger</a>, the term coined by another German author and supporter of Hoffmann, <a href="/wiki/Jean_Paul" title="Jean Paul">Jean Paul</a>, in his humorous novel <a href="/wiki/Siebenk%C3%A4s" title="Siebenkäs">Siebenkäs</a> (1796–1797).<a href="#cite_note-106">[106]</a> <div class="mw-heading mw-heading3"><h3 id="France">France</h3>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=18" title="Edit section: France">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Further information: <a href="/wiki/19th-century_French_literature#Romanticism" title="19th-century French literature">19th-century French literature § Romanticism</a></div> <a href="/wiki/Balzac" class="mw-redirect" title="Balzac">Balzac</a> was an inheritor of Walter Scott's style of the historical novel,<a href="#cite_note-107">[107]</a> publishing in 1829 <a href="/wiki/Les_Chouans" title="Les Chouans">Les Chouans</a>, a historical work in the manner of Sir Walter Scott,<a href="#cite_note-108">[108]</a> set in 1799 Brittany. This was subsequently incorporated into <a href="/wiki/La_Com%C3%A9die_Humaine" class="mw-redirect" title="La Comédie Humaine">La Comédie Humaine</a>. The bulk La Comédie Humaine, however, takes place during the <a href="/wiki/Bourbon_Restoration_in_France" title="Bourbon Restoration in France">Bourbon Restoration</a> and the <a href="/wiki/July_Monarchy" title="July Monarchy">July Monarchy</a>, and Balzac is regarded as one of the founders of <a href="/wiki/Literary_realism" title="Literary realism">realism</a> in <a href="/wiki/European_literature" class="mw-redirect" title="European literature">European literature</a>.<a href="#cite_note-109">[109]</a> <a href="/wiki/S%C3%A9raph%C3%AEta" title="Séraphîta">Séraphîta</a>, with its theme of <a href="/wiki/Androgyny" title="Androgyny">androgyny</a>, contrasts with the realism of most of the author's best known works, delving into the fantastic and the supernatural to illustrate philosophical themes. Amongst writers of adventure novels were <a href="/wiki/Alexandre_Dumas" title="Alexandre Dumas">Alexandre Dumas</a>, <a href="/wiki/Jules_Verne" title="Jules Verne">Jules Verne</a>, and <a href="/wiki/Louis_Henri_Boussenard" title="Louis Henri Boussenard">Louis Henri Boussenard</a>. Dumas was the author of <a href="/wiki/The_d%27Artagnan_Romances" title="The d'Artagnan Romances">The d'Artagnan Romances</a>, which includes <a href="/wiki/The_Three_Musketeers" title="The Three Musketeers">The Three Musketeers</a>, which is also a historical novel. <a href="/wiki/Jules_Verne" title="Jules Verne">Jules Verne</a> (1828–1905) was the author a series of bestselling novels that includes <a href="/wiki/Journey_to_the_Center_of_the_Earth" title="Journey to the Center of the Earth">Journey to the Center of the Earth</a> (1864), <a href="/wiki/Twenty_Thousand_Leagues_Under_the_Seas" title="Twenty Thousand Leagues Under the Seas">Twenty Thousand Leagues Under the Seas</a> (1870), and <a href="/wiki/Around_the_World_in_Eighty_Days" title="Around the World in Eighty Days">Around the World in Eighty Days</a> (1872). His novels, always very well documented, are generally set in the second half of the 19th century, taking into account the technological advances of the time. <a href="/wiki/Louis_Henri_Boussenard" title="Louis Henri Boussenard">Louis Henri Boussenard</a> (1847–1910) ) was dubbed "the French <a href="/wiki/Henry_Rider_Haggard" class="mw-redirect" title="Henry Rider Haggard">Rider Haggard</a>" during his lifetime, but better known today in <a href="/wiki/Eastern_Europe" title="Eastern Europe">Eastern Europe</a> than in Francophone countries. Boussenard's best-known book Le Capitaine Casse-Cou (1901) was set at the time of the <a href="/wiki/Second_Boer_War" title="Second Boer War">Boer War</a>. L'île en feu (1898) fictionalized <a href="/wiki/Cuba" title="Cuba">Cuba</a>'s struggle for independence. Aspiring to emulate <a href="/wiki/Jules_Verne" title="Jules Verne">Jules Verne</a>, Boussenard also turned out several <a href="/wiki/Science_fiction" title="Science fiction">science fiction</a> novels, notably Les secrets de monsieur Synthèse (1888) and Dix mille ans dans un bloc de glace (1890), both translated by <a href="/wiki/Brian_Stableford" title="Brian Stableford">Brian Stableford</a> in 2013 under the title Monsieur Synthesis.<a href="#cite_note-110">[110]</a>[<a href="/wiki/Wikipedia:Verifiability#Wikipedia_and_sources_that_mirror_or_use_it" title="Wikipedia:Verifiability">circular reference</a>] <a href="/wiki/Victor_Hugo" title="Victor Hugo">Victor Hugo</a>'s <a href="/wiki/The_Hunchback_of_Notre-Dame" title="The Hunchback of Notre-Dame">The Hunchback of Notre-Dame</a> is a gothic, historical novel. <div class="mw-heading mw-heading3"><h3 id="Italy">Italy</h3>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=19" title="Edit section: Italy">edit</a>]</div> <a href="/wiki/Alessandro_Manzoni" title="Alessandro Manzoni">Alessandro Manzoni</a>'s <a href="/wiki/The_Betrothed_(Manzoni_novel)" title="The Betrothed (Manzoni novel)">The Betrothed</a> (1827) is an historical novel set in Lombardy in 1628, during the years of Spanish rule, which has similarities with Walter Scott's historic novel <a href="/wiki/Ivanhoe" title="Ivanhoe">Ivanhoe</a>, although evidently distinct. Georg Lukàcs, in The Historical Novel (1969) comments: <dl><dd><dl><dd>In Italy Scott found a successor who, though in a single, isolated work, nevertheless broadened his tendencies with superb originality, in some respect surpassing him. We refer, of course, to Manzoni's I Promessi Sposi (The Betrothed). Scott himself recognized Manzoni's greatness. When in Milan Manzoni told him that he was his pupil, Scott replied that in that case Manzoni's was his best work. It is, however, very characteristic that while Scott was able to write a profusion of novels about English and Scottish society, Manzoni confined himself to this single masterpiece (p.69)</dd></dl></dd></dl> <a href="/wiki/Emilio_Salgari" title="Emilio Salgari">Emilio Salgari</a> (1862–1911) was a writer of action adventure <a href="/wiki/Swashbuckler" title="Swashbuckler">swashbucklers</a> and a pioneer of <a href="/wiki/Science_fiction" title="Science fiction">science fiction</a>.<a href="#cite_note-111">[111]</a> Many of his most popular novels have been adapted as comics, animated series and feature films. He is considered the father of Italian <a href="/wiki/Adventure_fiction" title="Adventure fiction">adventure fiction</a> and Italian <a href="/wiki/Popular_culture" title="Popular culture">pop culture</a>, and the "grandfather" of the <a href="/wiki/Spaghetti_Western" title="Spaghetti Western">Spaghetti Western</a>.<a href="#cite_note-112">[112]</a> <div class="mw-heading mw-heading3"><h3 id="Russia">Russia</h3>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=20" title="Edit section: Russia">edit</a>]</div> Walter Scott was perhaps more popular in Russia, "in the late 1820s and 1830s", than anywhere "on the Continent", through the French translations of Auguste- Jean-Baptiste Defauconpret. Amongst "pilgrims to Abbotsford [were] a large proportion of Russian writers, diplomats, soldiers."<a href="#cite_note-113">[113]</a> Walter Scott "very profoundly influenced" <a href="/wiki/Pushkin" class="mw-redirect" title="Pushkin">Pushkin</a>, "in his capacity [as] a poet, ... a collector of folk-songs and ... the originator of the historical novel based on life ... We know that Pushkin's library contained not only Walter Scott's novels, but also his poetical works".<a href="#cite_note-114">[114]</a> <a href="/wiki/Tolstoy" class="mw-redirect" title="Tolstoy">Tolstoy</a>'s "great-great-grandson Vladimir Tolstoy, 36, inspected the recently renovated <a href="/wiki/Scott_Monument" title="Scott Monument">Scott Monument</a> in Edinburgh and suggested that "without the inspiration of Scott's writing genius his famous ancestor might never have penned War and Peace". "Mr Tolstoy ... the director of the Leo Tolstoy Museum and president of the Russian Museums' Association, said his great-great grandfather drew great inspiration from Scott's novels, particularly Waverley, Ivanhoe, and Rob Roy." He also noted that "In the library of the Tolstoy Museum in Russia there are many of Scott's books, including some early editions". He "said some of Scott's books in the museum's library had comments written by Leo Tolstoy beside the text - but he would not reveal what they said".<a href="#cite_note-115">[115]</a> <div class="mw-heading mw-heading3"><h3 id="Spain">Spain</h3>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=21" title="Edit section: Spain">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Further information: <a href="/wiki/Romanticism_in_Spanish_literature" title="Romanticism in Spanish literature">Romanticism in Spanish literature</a></div> The historical novel developed in imitation of <a href="/wiki/Walter_Scott" title="Walter Scott">Walter Scott</a> (80 of his works had been translated). The most notable Spanish authors are: Enrique Gil y Carrasco 1815–1846, the author of El señor de Bembibre, the best Spanish historical novel, written in imitation of Scott; Francisco Navarro Villoslada (1818–1895), who wrote a series of historical novels when the romantic genre was in decline and <a href="/wiki/Literary_realism" title="Literary realism">Realism</a> was coming to be at its height. His novels were inspired by Basque traditions, and were set in the medieval era. His most famous work is Amaya, o los vascos en el siglo VIII (Amaya, or the Basques of the 8th century), in which the Basques and the Visigoths ally themselves against the Muslim invasion. Other authors include <a href="/wiki/Mariano_Jos%C3%A9_de_Larra" title="Mariano José de Larra">Mariano José de Larra</a>, <a href="/wiki/Seraf%C3%ADn_Est%C3%A9banez_Calder%C3%B3n" title="Serafín Estébanez Calderón">Serafín Estébanez Calderón</a> and <a href="/wiki/Francisco_Mart%C3%ADnez_de_la_Rosa" title="Francisco Martínez de la Rosa">Francisco Martínez de la Rosa</a>. <div class="mw-heading mw-heading2"><h2 id="Citations">Citations</h2>[<a href="/w/index.php?title=Romance_(prose_fiction)&action=edit&section=22" title="Edit section: Citations">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><a href="#cite_ref-1">^</a> "Essay on Romance", Prose Works volume vi, p. 129, quoted in "Introduction" to Walter Scott's Quentin Durward, ed. Susan Maning. Oxford: Oxford University Press, 1992, p. xxv. </li> <li id="cite_note-2"><a href="#cite_ref-2">^</a> J. A. Cuddon, The Penguin Dictionary of Literary Terms and Literary Theory,4th edition, revised C. E. Preston. London: Penguin, 1999, p. 761> </li> <li id="cite_note-3"><a href="#cite_ref-3">^</a> Walter Scott, "Essay on Romance", p. 129. </li> <li id="cite_note-4"><a href="#cite_ref-4">^</a> Margaret Anne Doody. The True Story of the Novel. New Brunswick, NJ: Rutgers University Press, 1996, p. 15. </li> <li id="cite_note-5"><a href="#cite_ref-5">^</a> Pamela Regis. A Natural History of the Romance Novel. Philadelphia, Pennsylvania: University of Pennsylvania Press, 2003 </li> <li id="cite_note-6"><a href="#cite_ref-6">^</a> Margaret Doody, p. 19. </li> <li id="cite_note-7"><a href="#cite_ref-7">^</a> Timothy Roberts, (2011). Jane Eyre. p. 8 </li> <li id="cite_note-8"><a href="#cite_ref-8">^</a> Pamela Regis. A Natural History of the Romance Novel. Philadelphia, Pennsylvania: University of Pennsylvania Press, 2003 </li> <li id="cite_note-9"><a href="#cite_ref-9">^</a> David Punter, The Gothic, London: Wiley-Blackwell, 2004, p. 178. </li> <li id="cite_note-10"><a href="#cite_ref-10">^</a> Margaret Anne Doody. "Introduction", The True Story of the Novel, pp. 1-11. </li> <li id="cite_note-11"><a href="#cite_ref-11">^</a> Joel Porte, The Romance in America: Studies in Cooper, Poe, Hawthorne, Melville, and James. Middletown, Conn.: Wesleyan University Press, 1969., p.95 </li> <li id="cite_note-12"><a href="#cite_ref-12">^</a> Margaret Doody, p. 19. </li> <li id="cite_note-13"><a href="#cite_ref-13">^</a> Timothy Roberts, (2011). Jane Eyre. p. 8 </li> <li id="cite_note-14"><a href="#cite_ref-14">^</a> Pamela Regis. A Natural History of the Romance Novel. Philadelphia, Pennsylvania: University of Pennsylvania Press, 2003 </li> <li id="cite_note-15"><a href="#cite_ref-15">^</a> from "Romance", The Hutchinson Unabridged Encyclopedia with Atlas and Weather Guide, edited by Helicon. Helicon, 2018, np., online. </li> <li id="cite_note-16"><a href="#cite_ref-16">^</a> Diana Waggoner, The Hills of Faraway: A Guide to Fantasy, p 37, <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-689-10846-X" title="Special:BookSources/0-689-10846-X">0-689-10846-X</a> </li> <li id="cite_note-17"><a href="#cite_ref-17">^</a> John Grant, "<a rel="nofollow" class="external text" href="http://www.infinityplus.co.uk/nonfiction/gulliver.htm">Gulliver Unravels: Generic Fantasy and the Loss of Subversion</a>" </li> <li id="cite_note-18"><a href="#cite_ref-18">^</a> Alec Austin, <a rel="nofollow" class="external text" href="http://www.strangehorizons.com/2002/20020624/epic_fantasy.shtml">"Quality in Epic Fantasy"</a> </li> <li id="cite_note-19"><a href="#cite_ref-19">^</a> <a href="/wiki/Jane_Yolen" title="Jane Yolen">Jane Yolen</a>, "Introduction" p viii After the King: Stories in Honor of J.R.R. Tolkien, ed, Martin H. Greenberg, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-312-85175-8" title="Special:BookSources/0-312-85175-8">0-312-85175-8</a> </li> <li id="cite_note-20"><a href="#cite_ref-20">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLewis1994" class="citation book cs1"><a href="/wiki/C._S._Lewis" title="C. S. Lewis">Lewis, C. S.</a> (1994). <a href="/wiki/The_Discarded_Image" title="The Discarded Image">The Discarded Image</a> (Canto ed.). Cambridge: <a href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</a>. p. 9. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-521-47735-2" title="Special:BookSources/978-0-521-47735-2"><bdi>978-0-521-47735-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Discarded+Image&rft.place=Cambridge&rft.pages=9&rft.edition=Canto&rft.pub=Cambridge+University+Press&rft.date=1994&rft.isbn=978-0-521-47735-2&rft.aulast=Lewis&rft.aufirst=C.+S.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARomance+%28prose+fiction%29" class="Z3988"> </li> <li id="cite_note-21"><a href="#cite_ref-21">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFChris_Baldick2008" class="citation book cs1">Chris Baldick (2008). "Chivalric Romance". The Oxford Dictionary of Literary Terms (3rd ed.). <a href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-172717-7" title="Special:BookSources/978-0-19-172717-7"><bdi>978-0-19-172717-7</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/4811919031">4811919031</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Chivalric+Romance&rft.btitle=The+Oxford+Dictionary+of+Literary+Terms&rft.edition=3rd&rft.pub=Oxford+University+Press&rft.date=2008&rft_id=info%3Aoclcnum%2F4811919031&rft.isbn=978-0-19-172717-7&rft.au=Chris+Baldick&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARomance+%28prose+fiction%29" class="Z3988"> </li> <li id="cite_note-22"><a href="#cite_ref-22">^</a> Raphael Lyne. Shakespeare's Late Work. Oxford: Oxford University Press, 2007, pp. 6 and 99 </li> <li id="cite_note-23"><a href="#cite_ref-23">^</a> See Paul Scarron, The Comical Romance, Chapter XXI. "Which perhaps will not be found very Entertaining" (London, 1700) with its call for the new genre. <a rel="nofollow" class="external text" href="http://www.pierre-marteau.com/library/e-1700-0002.html#c21">online edition</a> </li> <li id="cite_note-24"><a href="#cite_ref-24">^</a> <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=muOZ6WdAg3o">Edith Grossman about Don Quixote as tragedy and comedy</a> a discussion held in New York City on 5 February 2009 by <a href="/wiki/Words_Without_Borders" title="Words Without Borders">Words Without Borders</a> (YouTube) </li> <li id="cite_note-25"><a href="#cite_ref-25">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFaulkner1983" class="citation book cs1">Faulkner, Peter (1983). "The Writer". In Parry, Linda (ed.). William Morris Textiles. London: Weidenfeld & Nicolson. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-297-78196-7" title="Special:BookSources/978-0-297-78196-7"><bdi>978-0-297-78196-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=The+Writer&rft.btitle=William+Morris+Textiles&rft.place=London&rft.pub=Weidenfeld+%26+Nicolson&rft.date=1983&rft.isbn=978-0-297-78196-7&rft.aulast=Faulkner&rft.aufirst=Peter&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARomance+%28prose+fiction%29" class="Z3988"> </li> <li id="cite_note-FOOTNOTEFaulkner198347-26"><a href="#cite_ref-FOOTNOTEFaulkner198347_26-0">^</a> <a href="#CITEREFFaulkner1983">Faulkner 1983</a>, p. 47. </li> <li id="cite_note-doubleday-27"><a href="#cite_ref-doubleday_27-0">^</a> Lin Carter, ed. Kingdoms of Sorcery, p. 39 Doubleday and Company Garden City, NY, 1976. </li> <li id="cite_note-28"><a href="#cite_ref-28">^</a> <a href="/wiki/Harold_Bloom" title="Harold Bloom">Harold Bloom</a> (editor), "<a href="/wiki/William_Morris" title="William Morris">William Morris</a>" in Classic Fantasy Writers. Chelsea House Publishers, 1994 <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7910-2204-8" title="Special:BookSources/0-7910-2204-8">0-7910-2204-8</a>, p. 153. </li> <li id="cite_note-29"><a href="#cite_ref-29">^</a> Humphrey Carpenter, ed., The Letters of J. R. R. Tolkien, Boston: Houghton Mifflin, 1981, letter #239 to Peter Szabo Szentmihalyi, draft, October 1971. </li> <li id="cite_note-30"><a href="#cite_ref-30">^</a> Gardner Dozois, "Preface". Modern Classics of Fantasy. New York: St. Martin's Press, 1997. pp. xvi-xvii </li> <li id="cite_note-2nd_Preface-31"><a href="#cite_ref-2nd_Preface_31-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWalpole1765" class="citation book cs1">Walpole, Henry (1765). <a rel="nofollow" class="external text" href="https://andromeda.rutgers.edu/~jlynch/Texts/otranto.html">The Castle of Otranto, A Gothic Story, Second Edition Preface</a>. London. p. vi.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Castle+of+Otranto%2C+A+Gothic+Story%2C+Second+Edition+Preface&rft.place=London&rft.pages=vi&rft.date=1765&rft.aulast=Walpole&rft.aufirst=Henry&rft_id=https%3A%2F%2Fandromeda.rutgers.edu%2F~jlynch%2FTexts%2Fotranto.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARomance+%28prose+fiction%29" class="Z3988"> </li> <li id="cite_note-Allison-32"><a href="#cite_ref-Allison_32-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.bbc.com/news/magazine-30313775">"The Castle of Otranto: The creepy tale that launched gothic fiction"</a>. BBC News. BBC. 13 December 2014.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=BBC+News&rft.atitle=The+Castle+of+Otranto%3A+The+creepy+tale+that+launched+gothic+fiction&rft.date=2014-12-13&rft_id=https%3A%2F%2Fwww.bbc.com%2Fnews%2Fmagazine-30313775&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARomance+%28prose+fiction%29" class="Z3988"> </li> <li id="cite_note-Missing-33"><a href="#cite_ref-Missing_33-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMissing2010" class="citation web cs1">Missing, Sophie (March 13, 2010). <a rel="nofollow" class="external text" href="https://www.theguardian.com/books/2010/mar/14/castle-of-otranto-horace-walpole-review">"The Castle of Otranto by Horace Walpole"</a>. The Guardian. Retrieved September 18, 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Guardian&rft.atitle=The+Castle+of+Otranto+by+Horace+Walpole&rft.date=2010-03-13&rft.aulast=Missing&rft.aufirst=Sophie&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fbooks%2F2010%2Fmar%2F14%2Fcastle-of-otranto-horace-walpole-review&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARomance+%28prose+fiction%29" class="Z3988"> </li> <li id="cite_note-34"><a href="#cite_ref-34">^</a> <a rel="nofollow" class="external text" href="https://books.google.com/books?id=QwYpYZ7rndMC&q=The+Castle+of+Otranto">Clemens, Valdine. The Return of the Repressed Albany. 1999. State University of New York Press. p.30</a><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7914-4328-0" title="Special:BookSources/0-7914-4328-0">0-7914-4328-0</a> </li> <li id="cite_note-35"><a href="#cite_ref-35">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.theguardian.com/artanddesign/2015/feb/25/strawberry-hill-horace-walpole-gothic-castle-otranto-open-again">"Strawberry Hill, Horace Walpole's fantasy castle, to open its doors again"</a>. The Guardian. Retrieved 18 July 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Strawberry+Hill%2C+Horace+Walpole%27s+fantasy+castle%2C+to+open+its+doors+again&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fartanddesign%2F2015%2Ffeb%2F25%2Fstrawberry-hill-horace-walpole-gothic-castle-otranto-open-again&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARomance+%28prose+fiction%29" class="Z3988"> </li> <li id="cite_note-36"><a href="#cite_ref-36">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.cambridge.org/core/books/cambridge-history-of-the-gothic/charles-dickens-and-the-gothic/FEC5D30D7DA0B6B136356034F9EEF7A0">"Charles Dickens and the Gothic (2.11) - The Cambridge History of the Gothic"</a>. Cambridge University Press. Retrieved 18 July 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Charles+Dickens+and+the+Gothic+%282.11%29+-+The+Cambridge+History+of+the+Gothic&rft_id=https%3A%2F%2Fwww.cambridge.org%2Fcore%2Fbooks%2Fcambridge-history-of-the-gothic%2Fcharles-dickens-and-the-gothic%2FFEC5D30D7DA0B6B136356034F9EEF7A0&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARomance+%28prose+fiction%29" class="Z3988"> </li> <li id="cite_note-37"><a href="#cite_ref-37">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.bl.uk/romantics-and-victorians/articles/charles-dickens-victorian-gothic-and-bleak-house">"Charles Dickens, Victorian Gothic and Bleak House"</a>. British Library. Retrieved 18 July 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Charles+Dickens%2C+Victorian+Gothic+and+Bleak+House&rft_id=https%3A%2F%2Fwww.bl.uk%2Fromantics-and-victorians%2Farticles%2Fcharles-dickens-victorian-gothic-and-bleak-house&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARomance+%28prose+fiction%29" class="Z3988"> </li> <li id="cite_note-victorianweb.org-38"><a href="#cite_ref-victorianweb.org_38-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAllingham2001" class="citation web cs1">Allingham, Philip V. (9 March 2001). <a rel="nofollow" class="external text" href="http://www.victorianweb.org/authors/dickens/ge/pva101.html">"The Genres of Charles Dickens' Great Expectations – Positioning the Novel (1)"</a>. The Victorian Web. Retrieved 26 April 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+Genres+of+Charles+Dickens%27+Great+Expectations+%E2%80%93+Positioning+the+Novel+%281%29&rft.pub=The+Victorian+Web&rft.date=2001-03-09&rft.aulast=Allingham&rft.aufirst=Philip+V.&rft_id=http%3A%2F%2Fwww.victorianweb.org%2Fauthors%2Fdickens%2Fge%2Fpva101.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARomance+%28prose+fiction%29" class="Z3988"> </li> <li id="cite_note-Davis_134-5-39"><a href="#cite_ref-Davis_134-5_39-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDavis2007" class="citation book cs1">Davis, Paul (2007). Critical Companion to Charles Dickens, A Literary Reference to His Life and Work. New York: Facts on File, Inc. pp. 134–135. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8160-6407-6" title="Special:BookSources/978-0-8160-6407-6"><bdi>978-0-8160-6407-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Critical+Companion+to+Charles+Dickens%2C+A+Literary+Reference+to+His+Life+and+Work&rft.place=New+York&rft.pages=134-135&rft.pub=Facts+on+File%2C+Inc.&rft.date=2007&rft.isbn=978-0-8160-6407-6&rft.aulast=Davis&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARomance+%28prose+fiction%29" class="Z3988"> </li> <li id="cite_note-The_Bloomsbury_Guide_p._885-40">^ <a href="#cite_ref-The_Bloomsbury_Guide_p._885_40-0">a</a> <a href="#cite_ref-The_Bloomsbury_Guide_p._885_40-1">b</a> <a href="#cite_ref-The_Bloomsbury_Guide_p._885_40-2">c</a> The Bloomsbury Guide to English Literature, ed. Marion Wynne Davis. New York: Prentice Hall, 1990, p. 885. </li> <li id="cite_note-41"><a href="#cite_ref-41">^</a> The Bloomsbury Guide to English Literature, ed. Marion Wynne Davis, p. 884. </li> <li id="cite_note-norton-42">^ <a href="#cite_ref-norton_42-0">a</a> <a href="#cite_ref-norton_42-1">b</a> The Norton Anthology of English Literature, vol.2, 7th edition, ed. M.H. Abrams. New York: Norton, 2000, pp. 20–21. </li> <li id="cite_note-43"><a href="#cite_ref-43">^</a> "Abstract": James Watt, '"Sir Walter Scott and the Medievalist Novel". The Oxford Handbook of Victorian Medievalism, ed. Joanne Parker and Corinna Wagner. Oxford U.P., 2020. </li> <li id="cite_note-44"><a href="#cite_ref-44">^</a> <a rel="nofollow" class="external text" href="http://eprints.gla.ac.uk/93115/">"Abstract": M. Pittock, ed., The Reception of Sir Walter Scott in Europe</a>. Series: The reception of British and Irish authors in Europe. Bloomsbury: London, 2014. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4725-3547-4" title="Special:BookSources/978-1-4725-3547-4">978-1-4725-3547-4</a> </li> <li id="cite_note-45"><a href="#cite_ref-45">^</a> "Abstract": M. Pittock, ed., The Reception of Sir Walter Scott in Europe. </li> <li id="cite_note-46"><a href="#cite_ref-46">^</a> Paul Barnaby, "Restoration Politics and Sentimental Poetics in A.-J.-B. 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Keith, Aspects of John Cowper Powys's Owen Glendower, pp. 20-21 </li> <li id="cite_note-Pages-97"><a href="#cite_ref-Pages_97-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCooper1861" class="citation book cs1">Cooper, Susan Fenimore (1861). <a rel="nofollow" class="external text" href="http://external.oneonta.edu/cooper/Susan/Susan-Mohicans.html">Pages and Pictures from the Writings of James Fenimore Cooper</a>. W.A. Townsend and Co. pp. 121–131.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Pages+and+Pictures+from+the+Writings+of+James+Fenimore+Cooper&rft.pages=121-131&rft.pub=W.A.+Townsend+and+Co&rft.date=1861&rft.aulast=Cooper&rft.aufirst=Susan+Fenimore&rft_id=http%3A%2F%2Fexternal.oneonta.edu%2Fcooper%2FSusan%2FSusan-Mohicans.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARomance+%28prose+fiction%29" class="Z3988"> </li> <li id="cite_note-Household-98"><a href="#cite_ref-Household_98-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCooper1876–1884" class="citation book cs1">Cooper, Susan Fenimore (1876–1884). <a rel="nofollow" class="external text" href="http://external.oneonta.edu/cooper/susan/susan-mohicans.html">Household Edition of the Works of J. Fenimore Cooper</a>. Houghton, Mifflin and Co. p. xi–xliv. Retrieved 11 September 2010.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Household+Edition+of+the+Works+of+J.+Fenimore+Cooper&rft.pages=xi-xliv&rft.pub=Houghton%2C+Mifflin+and+Co.&rft.date=1876%2F1884&rft.aulast=Cooper&rft.aufirst=Susan+Fenimore&rft_id=http%3A%2F%2Fexternal.oneonta.edu%2Fcooper%2Fsusan%2Fsusan-mohicans.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARomance+%28prose+fiction%29" class="Z3988"> </li> <li id="cite_note-99"><a href="#cite_ref-99">^</a> Phillips, Mary Elizabeth (1913). James Fenimore Cooper. John Lane Company, New York, London. p. 160 </li> <li id="cite_note-100"><a href="#cite_ref-100">^</a> The Historical Novel. Penguin Books, 1969, pp. 69-72. </li> <li id="cite_note-101"><a href="#cite_ref-101">^</a> Herman Melville, The Writings of Herman Melville, Volume Fourteen. Edited by Lynn Horth. Evanston and Chicago: Northwestern University Press and The Newberry Libra, 1993, p.163 </li> <li id="cite_note-102"><a href="#cite_ref-102">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFO'Connor1979" class="citation book cs1">O'Connor, Flannery (1979). Fitzgerald, Sally (ed.). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=zU9liqlCzmsC">The Habit of Being: Letters of Flannery O'Connor</a>. <a href="/wiki/Farrar,_Straus_and_Giroux" title="Farrar, Straus and Giroux">Farrar, Straus and Giroux</a>. p. 90. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780374521042" title="Special:BookSources/9780374521042"><bdi>9780374521042</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Habit+of+Being%3A+Letters+of+Flannery+O%27Connor&rft.pages=90&rft.pub=Farrar%2C+Straus+and+Giroux&rft.date=1979&rft.isbn=9780374521042&rft.aulast=O%27Connor&rft.aufirst=Flannery&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DzU9liqlCzmsC&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARomance+%28prose+fiction%29" class="Z3988"> </li> <li id="cite_note-103"><a href="#cite_ref-103">^</a> <a href="/w/index.php?title=Penrith_Goff&action=edit&redlink=1" class="new" title="Penrith Goff (page does not exist)">Penrith Goff</a>, "E.T.A. Hoffmann" in <a href="/wiki/E._F._Bleiler" title="E. F. Bleiler">E. F. Bleiler</a>, Supernatural Fiction Writers: Fantasy and Horror. New York: Scribner's, 1985. pp. 111–120. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-684-17808-7" title="Special:BookSources/0-684-17808-7">0-684-17808-7</a> </li> <li id="cite_note-104"><a href="#cite_ref-104">^</a> <a href="/wiki/Mike_Ashley_(writer)" title="Mike Ashley (writer)">Mike Ashley</a>, "Hoffmann, E(rnst) T(heodor) A(madeus) ", in St. James Guide to Horror, Ghost, and Gothic Writers, ed. <a href="/wiki/David_Pringle" title="David Pringle">David Pringle</a>. Detroit: St. James Press/Gale, 1998. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-55862-206-7" title="Special:BookSources/978-1-55862-206-7">978-1-55862-206-7</a> (pp. 668-69). </li> <li id="cite_note-105"><a href="#cite_ref-105">^</a> Heide Crawford, The Origins of the Literary Vampire. Lanham : Rowman & Littlefield, 2016, p. xiii. </li> <li id="cite_note-106"><a href="#cite_ref-106">^</a> Hogle, J.E., The Cambridge Companion to Gothic Fiction, Cambridge University Press, 2002, p. 105–122. </li> <li id="cite_note-107"><a href="#cite_ref-107">^</a> Lukacs 92-96 </li> <li id="cite_note-108"><a href="#cite_ref-108">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLiukkonen" class="citation web cs1">Liukkonen, Petri. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20140924072443/http://kirjasto.sci.fi/balzac.htm">"Honoré de Balzac"</a>. Books and Writers. Finland: <a href="/wiki/Kuusankoski" title="Kuusankoski">Kuusankoski</a> Public Library. Archived from <a rel="nofollow" class="external text" href="http://www.kirjasto.sci.fi/balzac.htm">the original</a> on 24 September 2014.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Books+and+Writers&rft.atitle=Honor%C3%A9+de+Balzac&rft.aulast=Liukkonen&rft.aufirst=Petri&rft_id=http%3A%2F%2Fwww.kirjasto.sci.fi%2Fbalzac.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARomance+%28prose+fiction%29" class="Z3988"> </li> <li id="cite_note-109"><a href="#cite_ref-109">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFClasse2017" class="citation book cs1">Classe, O. (26 November 2017). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=myLDA0_brhcC&pg=PA102">Encyclopedia of Literary Translation Into English: A-L</a>. Taylor & Francis. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-884964-36-7" title="Special:BookSources/978-1-884964-36-7"><bdi>978-1-884964-36-7</bdi></a>. Retrieved 26 November 2017 – via Google Books.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Encyclopedia+of+Literary+Translation+Into+English%3A+A-L&rft.pub=Taylor+%26+Francis&rft.date=2017-11-26&rft.isbn=978-1-884964-36-7&rft.aulast=Classe&rft.aufirst=O.&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DmyLDA0_brhcC%26pg%3DPA102&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARomance+%28prose+fiction%29" class="Z3988"> </li> <li id="cite_note-110"><a href="#cite_ref-110">^</a> <a href="https://fr.wikipedia.org/wiki/Louis-Henri_Boussenard" class="extiw" title="fr:Louis-Henri Boussenard">Article on French Wikipedia</a> </li> <li id="cite_note-111"><a href="#cite_ref-111">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBrioniComberiati2019" class="citation book cs1">Brioni, Simone; Comberiati, Daniele (2019-07-18). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=lOijDwAAQBAJ">Simone Brioni and Daniele Comberiati, Italian Science Fiction: The Other in Literature and Film. New York: Palgrave, 2019</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-030-19326-3" title="Special:BookSources/978-3-030-19326-3"><bdi>978-3-030-19326-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Simone+Brioni+and+Daniele+Comberiati%2C+Italian+Science+Fiction%3A+The+Other+in+Literature+and+Film.+New+York%3A+Palgrave%2C+2019.&rft.date=2019-07-18&rft.isbn=978-3-030-19326-3&rft.aulast=Brioni&rft.aufirst=Simone&rft.au=Comberiati%2C+Daniele&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DlOijDwAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARomance+%28prose+fiction%29" class="Z3988"> </li> <li id="cite_note-112"><a href="#cite_ref-112">^</a> Giovanni Arpino, Emilio Salgari, il padre degli eroi, Mondadori 1991 </li> <li id="cite_note-113"><a href="#cite_ref-113">^</a> Gleb Struve, Russian Friends and Correspondents of Sir Walter Scott. Comparative Literature , Autumn, 1950, Vol. 2, No. 4 (Autumn, 1950), pp. 307- 326. Duke University Press </li> <li id="cite_note-114"><a href="#cite_ref-114">^</a> Peter Struve, Walter Scott and Russia. The Slavonic and East European Review , Jan., 1933, Vol. 11, No. 32 (Jan., 1933), pp. 397-410. </li> <li id="cite_note-115"><a href="#cite_ref-115">^</a> <a rel="nofollow" class="external text" href="https://www.heraldscotland.com/news/12278317.what-mr-tolstoy-thinks-of-scott/">The Herald, "What Mr Tolstoy thinks of Scott", 12th May 1999.</a> </li> </ol></div></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239543626"><div class="reflist"> </div>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1&useformat=desktop" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Romance_(prose_fiction)&oldid=1252924229">https://en.wikipedia.org/w/index.php?title=Romance_(prose_fiction)&oldid=1252924229</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:Fiction" title="Category:Fiction">Fiction</a></li><li><a href="/wiki/Category:Historical_fiction" title="Category:Historical fiction">Historical fiction</a></li><li><a href="/wiki/Category:Literary_genres" title="Category:Literary genres">Literary genres</a></li><li><a href="/wiki/Category:Romance_genres" title="Category:Romance genres">Romance genres</a></li><li><a href="/wiki/Category:Romanticism" title="Category:Romanticism">Romanticism</a></li></ul></div><div id="mw-hidden-catlinks" class="mw-hidden-catlinks mw-hidden-cats-hidden">Hidden categories: <ul><li><a href="/wiki/Category:Articles_with_short_description" title="Category:Articles with short description">Articles with short description</a></li><li><a href="/wiki/Category:Short_description_matches_Wikidata" title="Category:Short description matches Wikidata">Short description matches Wikidata</a></li><li><a href="/wiki/Category:Articles_containing_Old_French_(842-ca._1400)-language_text" title="Category:Articles containing Old French (842-ca. 1400)-language text">Articles containing Old French (842-ca. 1400)-language text</a></li><li><a href="/wiki/Category:All_articles_lacking_reliable_references" title="Category:All articles lacking reliable references">All articles lacking reliable references</a></li><li><a href="/wiki/Category:Articles_lacking_reliable_references_from_September_2023" title="Category:Articles lacking reliable references from September 2023">Articles lacking reliable references from September 2023</a></li></ul></div></div> </div> </main> </div> <div class="mw-footer-container"> <footer id="footer" class="mw-footer" > <ul id="footer-info"> <li id="footer-info-lastmod"> This page was last edited on 23 October 2024, at 15:18 (UTC).</li> <li id="footer-info-copyright">Text is available under the <a href="/wiki/Wikipedia:Text_of_the_Creative_Commons_Attribution-ShareAlike_4.0_International_License" title="Wikipedia:Text of the Creative Commons Attribution-ShareAlike 4.0 International License">Creative Commons Attribution-ShareAlike 4.0 License</a>; additional terms may apply. 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