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Go FigureEnergies, Forms, and Institutions in the Early Modern World$
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Judith H. Anderson and Joan Pong Linton

Print publication date: 2011

Print ISBN-13: 9780823233496

Published to Fordham Scholarship Online: September 2011

DOI: 10.5422/fordham/9780823233496.001.0001

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The Narrative Turn Against Metaphor: Metonymy, Identification, and Roger Boyle's Parthenissa

The Narrative Turn Against Metaphor: Metonymy, Identification, and Roger Boyle's Parthenissa

Chapter:
(p.73) The Narrative Turn Against Metaphor: Metonymy, Identification, and Roger Boyle's Parthenissa
Source:
Go Figure
Author(s):

Judith H. Anderson

Joan Pong Linton

Publisher:
Fordham University Press
DOI:10.5422/fordham/9780823233496.003.0005

Roger Boyle's Parthenissa, published serially throughout the 1650s, is one of a group of mid seventeenth-century British prose romances that share a penchant for political allegory. Most mid-century romance became obscure within a few years of the Restoration, but Parthenissa was read well into the eighteenth century, when by conventional literary history its outmoded genre would seem to have been replaced by the more sophisticated and entertaining form of the novel. Doubtless part of the attraction of Parthenissa's generically typical roman à clef form was the access it seemed to promise to the inside story of Boyle's political career. But Parthenissa is also intensely self-conscious about literary form and interpretation, and at several moments it begins to construct a model for prose narrative structure that in retrospect turns out to have been oddly modern.

Keywords:   Parthenissa, prose, Roger Boyle, political allegory, romance, narrative, literary form

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