Adventure and contingency in literary theory

Abstract The relation between adventure and contingency is an ambivalent one. This ambivalence can be described by using a distinction of two aspects already tied together in âventiure (as a French foreign word in German), distinguished by Jacob Grimm as “begebenheit” versus “erzählte geschichte selbst,” rendered as ‘type of event’ versus ‘narrative pattern’ in the terminology of the Munich research group Philology of Adventure. On the one hand, it seems obvious that for an adventure, as a type of event, a contingent element is a crucial precondition. An adventurous agent must willingly expose himself to this contingent event and interpret it as a ‘Chance’ (using a French foreign word in German, again), i.e. as opportunity to gain by risking, be it simply capital—as in the economic usage of the word, from English ‘Merchant Adventurers’ to contemporary ‘Venture Capital’—, or be it fame or prestige—as in Medieval and Early Modern adventure epics and novels. On the other hand, adventure, as a narrative pattern, tends to reduce contingencies in order to ‘make sense’. Even if adventure tales tolerate and actually support episodic structures, these episodes must, after all, be motivated and integrated into a plot. In other words: Writing an adventure story always already implies to tame (or perhaps rather frame) the very contingency it is based on. Adventure stories are therefore typical cases of “eliminating the contingent part of the literary phenomena it deals with” (Duprat and Jordan, introduction to the present special issue). This tension is, however, rarely acknowledged in the history of literary theory—here taken in the longue durée, starting with Early Modern poetics. The present essay discusses some steps from the history of relevant theories, with a particular emphasis on Giorgio Agamben's recent eulogy of adventure.