As for romance, it would seem that its ultimate condition of figuration, on which the other preconditions we have already mentioned are dependent—the category of worldness, the ideologeme of good and evil felt as magical forces, a salvational historicity—is to be found in a transitional moment in which two distinct modes of production, or moments of socioeconomic development, coexist. Their antagonism is not yet articulated in terms of the struggle of social classes, so that its resolution can be projected in the form of a nostalgic (or less often, a Utopian) harmony. Our
Romance comes about in moments of turmoil, class conflict. The makes sense for bodice rippers and even the big R romantcpics coming out of the French Revolution. I wonder if this could be applied to Blake and what Blake does
