Contradictions in "The Adventures of Arabella"

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The majority of Charlotte Lennox’s 1752 novel The Female Quixote, or The Adventures of Arabella focuses on outward actions and appearances, particularly those of its eccentric heroine, Arabella, who conducts herself according to conventions of the romances she spent her life reading. A genre dating back to Ancient Greece and Rome, romance generally deals with the loves and adventures of the nobility, and within the world of The Female Quixote, this definition narrows to refer predominately to English translations of seventeenth-century French narratives, usually set in an idealized vision of the Classical World. Described by John J. Winkler as “an elaboration of the period between initial desire and final consummation,” allowing the potentially dangerous sexual passion (eros) to find containment within marriage (gamos) (28), the common plotlines for romance prefigures the conventions of eighteenth-century domestic fiction, following the tribulations of a pair of lovers until they are securely established within their society’s social hierarchy.

Central to romance’s narrative logic is the noble status of the central couple. Frequently their nobility is unrecognized by those surrounding them. Status is frequently treated as an innate quality that separates the lovers intellectually, morally and physically from the commoners around them. Each of their trials throughout the text rearticulates their superiority over their social inferiors as well as their fitness as companions to each other. The Female Quixote may focus less explicitly on the ‘right’ of one class to rule another, but as in many Georgian novels, focuses on those placed socially above the merchant classes. Lennox’s novel reinterprets the social divide of the romance in...

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