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University Microfilms, Inc., Ann Arbor, Michigan SOCIAL CRITICISM in the ENGLISH NOVEL This dissertation has been microfilmed exactly as received 68-8810 CLEMENTS, Frances Marion, 1927- SOCIAL CRITICISM IN THE ENGLISH NOVEL: 1740-1754. The Ohio State University, Ph.D., 1967 Language and Literature, general University Microfilms, Inc., Ann Arbor, Michigan SOCIAL CRITICISM IN THE ENGLISH NOVEL 1740- 175^ DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Frances Marion Clements, B.A., M.A. * # * * # * The Ohio State University 1967 Approved by (L_Lji.b A< i W L _ Adviser Department of English ACKNOWLEDGMENTS I wish to thank the Library of Congress and the Folger Shakespeare Library for allowing me to use their resources. I also owe a large debt to the Newberry Library, the State Library of Ohio and the university libraries of Yale, Miami of Ohio, Ohio Wesleyan, Chicago, Illinois, Indiana, Iowa and Wisconsin for their generosity in lending books. Their willingness to entrust precious eighteenth-century volumes to the postal service greatly facilitated my research. My largest debt, however, is to my adviser, Professor Richard D. Altick, who placed his extensive knowledge of British social history and of the British novel at my disposal, and who patiently read my manuscript more times than either of us likes to remember. Both his criticism and his praise were indispensable. VITA October 17, 1927 Born - Lynchburg, Virginia 1950 .......... A. B., Randolph-Macon Women's College, Lynchburg, Virginia 1950-1959• • • • United States Foreign Service 1962-1967. • • • Teaching Assistant, Department of English, The Ohio State University, Columbus, Ohio 1962 ...... M. A., The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: English Literature iii TABLE OP CONTENTS ACKNOWLEDGMENTS ii VITA iii Chapter I. INTRODUCTION 1 II. WOMEN Introduction Education The Rights of Wives Marriage and Freedom of Choice Economics and Employment Prostitution Afterword III. CHILDREN Education Orphans and Foundlings The Foundling Hospital The Stepchild and the Mistreated Child The Rhetoric of Pathos IV. PRISONERS 195 V. CONCLUSION 229 BIBLIOGRAPHY 265 iv CHAPTER I INTRODUCTION The novel as developed by Defoe, Richardson and Field­ ing, says Ian Watt, is "a full and authentic report of human experience, and is therefore under an obligation to satisfy its readers with such details of the story as the individuality of the actors concerned, £and] the particulars of the times and places of their actions." 1 According to Graham Hough, any novel "is obliged to represent life on the terms on which it is actually lived. The extent to which novels incorporate political and social history varies greatly, but 2 they all do incorporate it." Mary McCarthy makes the same point when she remarks that "the distinctive mark of the novel is its concern with the actual world of fact, of the verifiable, of figures, even, and statistics" and that all novelists "have one thing in commons a deep love of fact, of the empiric 3 element in experience." In other words, events in a novel do not occur in an unlocalized and timeless Forest of Arden; they occur in an inn at Upton in the year 17^5. The first eighteenth-century novelists certainly intended to depict the world in which they lived. Richard­ son states that Clarissa is "addressed to the public as a 1 4 History of Life and Manners'1; Smollett in Roderick Random asserts that he has not deviated from nature in his facts, "which are all true in the main,"'’ and the anonymous author of Charlotte Summers assures the reader that he has "supposed nothing, but what, not only may happen in common Life, but what to [his^ knowledge has happened more than Once."^ Later critics recognized this realistic purpose. Fielding, Richardson, Smollett and Sterne, says Hazlitt, are among the first-class writers who "take their rank by the side of reality." In his opinion Joseph Andrews contains a more satisfactory "account of the general state of society, and of moral, political, and religious feeling in the reign 7 of George II" than does any historical document. Among twentieth-century critics, E. A. Baker praises the minor novelists of the early eighteenth century for their "gallant 8 if clumsy attempts to depict the world they lived in." Not only did the early novelists depict their world, they were also critical of their society, as their contem­ poraries and some later critics recognized. Richardson ~ q wished to "correct and mortify the Disdain of the Proud, Fielding to "expose some of the most glaring evils, as well public as private, which at present infest the country,"10 and Smollett to "animate the reader against the sordid and 11 vicious disposition of the world." A contemporary reviewer says of Francis Coventry, author of Pompey the Little that he ridicules the world's follies "with a fineness of edge 3 12 unknown to the sour satyrist or the reoluse philosopher. 11 Even John Cleland's Fanny Hill is praised for revealing "those mysteries of iniquity that, in our opinion, need only to be exposed to view, in order to their being abhorred ahd shunned by those who might otherwise unwarily fall into 13 them." Recently Walter Allen has described Fielding, along with Hogarth, as "the most powerful artistic expres­ sion of the social conscience of the age," and believes that the greatest problem which he and Richardson saw in their world was "the existence at all levels of inordinate, arbitrary and irresponsible power against which the ordinary 14 private citizen was helpless." That all literature should have a didactic purpose was a critical principle which the eighteenth century inherited from the Renaissance. Sir Philip Sidney in his Defense of Poesie (1580) had asserted that literature, and especially drama and poetry, had two aimsj to delight and to instruct. Like most Elizabethans, he gives prime impor­ tance to instruction or moral purpose. Despite Dryden*s firm subordination of instruction to delight (Essay on Dramatic Poetry, 1688), for most eighteenth-century authors and critics didactic purpose continued to retain an impor­ tance equal to or greater than pleasure. Almost a century after Dryden's essay. Dr. Johnson said in the "Prefaces to Shakespeare" that the "end of writing is to instruct; 11 and that "it is always a writer's duty to make the world 15 better.” Between the times of these two major writers, other men of letters asserted, either explicitly or implicitly, their didactic purpose. Farquhar in the Pro­ logue to The Beaux1 Stratagem claims that When strife disturbs, or sloth corrupts an age, Keen satire is the business of the stage. Defoe in his preface to Moll Flanders hopes that “readers will be more pleased with the moral than the fable.” In the preface to his Essay on Man Pope justifies on didactic grounds his use of verse. Principles, maxims, or precepts written in verse, he says, "both strike the reader more strongly at first, and are more easily retained by him afterwards." Swift defends his satire of the clergy on the principle that to criticize is to cure. Exposing the follies of fanaticism and superstition to ridicule he says "is perhaps the most probable way to cure them, or at least hinder them from further spreading.” The first English novelists were thus in harmony with the prevailing critical theory when they asserted their didactic purpose. But even had they had no such conscious intention, because they were realists, they could scarcely have avoided being critics as well, for realism and social criticism are nearly inseparable. The post-Edenic world is at best imperfect, and any novelist who accurately reflects that world will be obliged to expose its deficiencies; the more accurately he reflects, the more critical he will be. No novel, for example, is more scrupulously, scientifically accurate in its portrayal of the actual conditions of the world in which its characters live than is Zola's Germinal, and none is more scathing in its criticism of social evils. The requirements of realism could even force an author to take a stand on social abuses which he might in other circum­ stances wish to disclaim. Samuel Richardson, for instance, would have been very uncomfortable to find himself in the vanguard of the feminist movement. In Rambler No. 97 he deplores the necessity for marriage settlements "which makes a wife independent, and destroys love, by putting it out of a man's power to lay any obligation upon her, that might engage gratitude, and kindle affection."1^ This was written in 17511 "but in 17^0 (Pamela) and 17*1-8 (Clarissa) Richardson had shown the unfortunate consequences of putting power over a woman into a man's hands. In both novels Richardson relates the story of a young woman's struggle to escape a hopeful rapist. Since he was writing novels rather than romances, he did not place his heroines in some country adjacent to Camelot and Immure them in a castle guarded by a dragon. He placed both of them in the everyday England of the 17 *<«0 's, and instead of a dragon, the two heroines have to contend with such mundane social injustices as the near impossibility of a woman in that time and place earn­ ing her own living by any legal or moral means. Richardson in propria persona would not, perhaps, advocate economic independence for women, but in his novels, because they deal perforce with actual conditions, he does so in spite of himself. In general, there are two types of social criticism in any novel, both of which can be exemplified by the works of Henry Fielding. One type censures the faults inherent in unchanging human nature rather than those contemporary abuses which could be alleviated by changing a law or a social attitude.
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