Becoming a reader and critic of his own story leads Don Quixote eventually to sanity. Toward the end of the second volume, he slips out of his chivalric role more and more often, even doubting his most fabulous adventure: the Cave of Montesino. When an “enchanted boat” capsizes and gets pulverized in a mill, the bedraggled knight, dripping on the bank, sputters, “Yo no puedo más” (Cervantes Saavedra 752) (“I can’t take it anymore”), betraying a defeatist attitude for the first time. His increased meta-awareness causes our heroic knight to lose faith in his chivalric role, drop the pretense, and return, alas, to sanity.
Background: After an introduction to writing, literature and poetry, we turned to the genre of romance, whose definition has morphed from chivalric romance (such as Sir Gawain and the Green Knight) through Gothic romance (as in Wuthering Heights by Emily Bronte) to modern romance (as represented by the short stories we have read). In “The History of Genre,” Ralph Cohen explains that genres are open categories, which change over time as new texts are added to the set. Genre set up expectations, which individual texts may satisfy or alter. Knowing the conventions of a genre aids readers in understanding and interpreting the work.
Goal: The purpose of the paper is to explore the relationships between individual works of literature and the changing genre of romance.
The Generation of Genre
ENGLISH 110 – 32162: Composition, Literature and Critical Thinking
College of San Mateo
Ronald B. Richardson
Objective: To experience poetry, fiction, and drama more richly, by exploring the generation of the modern genres of romance, mystery and science fiction.