There are some interesting views on the way Fantomina is structured. Robert Scholes

explains the common structure of  fiction as "the sophisticated form of fiction, as in the

sophisticated practice of sex, much of the art consists of delaying climax  within the framework

of desire in order to prolongue the pleasurable act itself" (175). Haywood contrasts this male

model of fiction using a more "feminised structure of multiple climaxes" (Potter 175). Her story

has more than one climax as the character of Fantomina changes disguises and risks revealing

her true identity. 

      Haywood also structure's the character Fantomina in an empowering way, with reason and

rational action instead of hysterical fits makes her " the female equivalent to Haywood's male rakes, who assume a series of different identities to court their mistresses and avert the possibilty

of discovery" (Ballaster 60).

 

For more detailed research please read (UNBSJ ID required):

 

Craft, Catherine.  "Reworking Male Models: Aphra Behn's Fair Vow-Breaker, Eliza Haywood's Fantomina, and Charlotte Lennox's Female Quixote" The Modern Language Review. 86 (1991): 821-838.

 

Potter, Tiffany. "The Language of Feminised Sexuality: Gendered Voice in Eliza Haywood's Love in Excess and Fantomina" Women's Writing. Routledge: 2003, 10.1