Oroonoko combines elements of several traditional genres in Western literature, including epic, sentimental chivalric romance, and tragedy. Behn uses a combination of stylistic elements associated with these genres to incite pity or empathy in the reader for Oroonoko. She situates him as both a romantic hero and the sympathetic victim of tragic circumstances.
Epic, for instance, is a genre typically populated by long narrative poetry, of which both The Iliad and The Odyssey are examples. The term "epic" is also loosely applied to novels and other prose writing that share narrative characteristics with traditional "oral epic" poetry: that is, they feature tales of a hero, whether prince, king, or knight, who represents the values of his nation and adheres without fail to a strict code of morals. Oroonoko, the prince of his nation, fully embodies this role within an epic narrative. In the process of introducing Oroonoko's character to the reader, the narrator proclaims:
I have often seen and conversed with this great man, and been a witness to many of his mighty actions; and do assure my reader, the most illustrious courts could not have produced a braver man, both for greatness of courage and mind, a judgement more solid, a wit more quick, and a conversation more sweet and diverting.
Note the similarities between the above passage and the opening lines of the epic romance poem Sir Gawain and the Green Knight: "No Knight of the Round Table has been so highly honoured by the old Romance-writers as Sir Gawayne, the son of Loth, and nephew to the renowned Arthur. They delighted to describe him as Gawayne the good, a man matchless on mould, the most gracious that under God lived, the hardiest of hand, the most fortunate in arms, and the most polite in hall, whose knowledge, knighthood, kindly works, doings, doughtiness, and deeds of arms were known in all lands." Both Oroonoko and Sir Gawain possess qualities that set them above their peers physically, intellectually, and morally.
Oroonoko shares further similarities with Sir Gawain and the Green Knight, as a story that revolves around a central, highly sentimental romance—that of Prince Oroonoko and Imoinda. This sets the novella squarely within the realm of chivalric romance, a genre that emphasizes courtly manners and quests driven by love. The first half of Oroonoko—before he is kidnapped and sold into slavery—is particularly reminiscent of chivalric romance, with Oroonoko attempting to thwart the wiles of his grandfather, the king, who uses his power to prevent Imoinda and Oroonoko from marrying. Once Oroonoko is captured and enslaved, the genre shifts from chivalric romance to tragedy, as all of his attempts at acquiring freedom are thwarted.
