Overturning the common characterization of Seventeenth Century English prose romance as an exhausted, imitative genre with little bearing on the evolution of the novel, this book argues that early modern romance was a central forum for exploring the newly pressing moral-philosophical and political problem of self-interest.

In this book, Emily Griffiths Jones examines the intersections of romance, religion, and politics in England between 1588 and 1688 to show how writers during this politically turbulent time used the genre of romance to construct diverse ideological communities for themselves. Right Romance argues for a recontextualized understanding of romance as a multigeneric narrative structure or strategy rather than a prose genre and rejects the common assumption that romance was a short-lived mode most commonly associated with royalist politics. Puritan republicans likewise found in romance strength, solace, and grounds for political resistance. Two key works that profoundly influenced seventeenth-century approaches to romance are Philip Sidney’s New Arcadia and Edmund Spenser’s The Faerie Queene, which grappled with romance’s civic potential and its limits for a newly Protestant state. Jones examines how these works influenced writings by royalists and republicans during and after the English Civil War. Remaining chapters pair writers from both sides of the war in order to illuminate the ongoing ideological struggles over romance. John Milton is analyzed alongside Margaret Cavendish and Percy Herbert, and Lucy Hutchinson alongside John Dryden. In the final chapter, Jones studies texts by John Bunyan and Aphra Behn that are known for their resistance to generic categorization in an attempt to rethink romance’s relationship to election, community, gender, and generic form. Original and persuasive, Right Romance advances theoretical discussion about romance, pushing beyond the limits of the genre to discover its impact on constructions of national, communal, and personal identity.

Love is a key ingredient in the stereotypical fairy-tale ending in which everyone lives happily ever after. This romantic formula continues to influence contemporary ideas about love and marriage, but it ignores the history of love as an emotion that shapes and is shaped by hierarchies of power including gender, class, education, and social status. This interdisciplinary study questions the idealization of love as the ultimate happy ending by showing how the conteuses, the women writers who dominated the first French fairy-tale vogue in the 1690s, used the fairy-tale genre to critique the power dynamics of courtship and marriage. Their tales do not sit comfortably in the fairy-tale canon as they explore the good, the bad, and the ugly effects of love and marriage on the lives of their heroines. Bronwyn Reddan argues that the conteuses' scripts for love emphasize the importance of gender in determining the "right" way to love in seventeenth-century France. Their version of fairy-tale love is historical and contingent rather than universal and timeless. This conversation about love compels revision of the happily-ever-after narrative and offers incisive commentary on the gendered scripts for the performance of love in courtship and marriage in seventeenth-century France.

Few readers today are aware of the vigorous prose experiments undertaken in the seventeenth century. This anthology presents a representative selection of that work, with examples from Aphra Benn, John Bunyan, William Congreve, Percy Herbert, and Thomas Dangerfield. Also included are MaryWroth's feminist romance Urania and Margaret Cavendish's female utopia The Blazing World , in print here for the first time since their original publication.

"Love is joy with the accompanying idea of an external cause." Spinoza's definition of love manifests a major paradigm shift achieved by seventeenth-century Europe, in which the emotions, formerly seen as normative "forces of nature," were embraced by the new science of the mind.This shift has often been seen as a transition from a philosophy laden with implicit values and assumptions to a more scientific and value-free way of understanding human action. But is this rational approach really value-free? Today we tend to believe that values are inescapable, and that the descriptive-mechanical method implies its own set of values. Yet the assertion by Spinoza, Malebranche, Leibniz, and Enlightenment thinkers that love guides us to wisdom-and even that the love of a god who creates and maintains order and harmony in the world forms the core of ethical behavior-still resonates powerfully with us. It is, evidently, an idea Western culture is unwilling to relinquish.This collection of insightful essays offers a range of interesting perspectives on how the triumph of "reason" affected not only the scientific-philosophical understanding of the emotions and especially of love, but our everyday understanding as well.

Set in the tumultuous late 17th Century, His Last Mistress tells the true story of the final years in the life of James Scott, the dashing but doomed Duke of Monmouth, and Lady Henrietta Wentworth. As the popular but illegitimate eldest son of King Charles II, the Duke is a spoiled, lecherous man. With both a wife and a mistress, this rakish libertine is nevertheless captivated by the innocence of young Lady Henrietta Wentworth, who has been raised to covet her virtue. Will she succumb? At the same time, the Duke begins to harbour risky political ambitions which may threaten not only his life but also that of those around him. Will the path he chooses lead him to bloody rebellion, or peace and happiness? His Last Mistress is a passionate, sometimes explicit, carefully researched and ultimately moving story of love and loss, set against a backdrop of dangerous political unrest, brutal religious tensions, and the looming question of who will be the next King.