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Abstract
This essay looks at the history of the novel, starting from the influential postwar critical insistence on the importance of the novel as a nineteenth-century genre. It notes that this tradition singularly fails to take account of the history of the novel in antiquity–for clear ideological reasons. It then explores the degree to which the texts known as the novel from antiquity, such as Longus’s
Daphnis and Chloe, Petronius’s
Satyricon, or Heliodorus’s
Aethiopica, constitute a genre. Although there is a great deal of porousness between different forms of prose in antiquity, the essay concludes by exploring why the ancient novel, ignored by critics for so long, has now become such a hot topic. It argues that much as the postwar critics could not fit the ancient novel into their histories, now the ancient novel’s interests in sophisticated erotics, narrative flair, and cultural hybridity seem all too timely.
Like several classics penned during the golden age of children’s literature, The Wind in the Willows was written with a particular child in mind.
Alastair Grahame was four years old when his father Kenneth then a secretary at the Bank of England began inventing bedtime stories about the reckless ruffian, Mr Toad, and his long-suffering friends: Badger, Rat, and Mole.
Alastair, born premature and partially blind, was nicknamed “Mouse”. Small, squinty, and beset by health problems, he was bullied at school. His rapture in the fantastic was later confirmed by his nurse, who recalled hearing Kenneth “up in the night-nursery, telling Master Mouse some ditty or other about a toad”.