The roots of the novel strike far into the ancient Greek and Latin romances, some say as far back as The Odyssey, in which the characteristic themes of exotic adventures, frustrated love, crisis, exile and ultimate reunion are established. After a period of virtual disappearance, the romance reappears in the 12th century, this time with an emphasis on medieval chivalric values, loyalty, prowess and the inspirational power of love. As this type of romance concludes its decline with Cervantes’ incisive yet nostalgic parody, the ancient strain resurfaces by way of rediscovery in the 16th century of the Greek romances and their translation into the vernacular of many European countries. The genre proliferates in France but experiences a setback in England under post-revolutionary, 17th century Puritanism, only to be revived by contact with its vigorous French branch. From here on it constantly evolves as the focus shifts to one or another of its constituent elements, from heroism to love to duty and virtue, until it makes its way into the pioneering novels of Richardson and Fielding in the 18th century. The early novel prides itself on moving towards verisimilitude, away from the fantastical world of romance, but, truly, the echoes of its predecessor reach far into the developing genre, designating it not as antagonist but as worthy successor. This is the path I have decided to follow in my studies, impelled by a simultaneous interest in the marvelous quality of romance and the sober realism of the 19th century novel and by the need to integrate such seemingly disparate tastes.