Henry Fielding's Joseph Andrews As a Picaresque
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Henry Fielding Joseph Andrews
HENRY FIELDING JOSEPH ANDREWS VOLUME I 2008 – All rights reserved Non commercial use permitted THE WORKS OF HENRY FIELDING EDITED BY GEORGE SAINTSBURY IN TWELVE VOLUMES VOL. I. JOSEPH ANDREWS VOL. I. CONTENTS. INTRODUCTION. PREFACE. BOOK I. CHAPTER I. _Of writing lives in general, and particularly of Pamela, with a word by the bye of Colley Cibber and others_ CHAPTER II. _Of Mr Joseph Andrews, his birth, parentage, education, and great endowments, with a word or two concerning ancestors_ CHAPTER III. _Of Mr Abraham Adams the curate, Mrs Slipslop the chambermaid, and others_ CHAPTER IV. _What happened after their journey to London_ CHAPTER V. _The death of Sir Thomas Booby, with the affectionate and mournful behaviour of his widow, and the great purity of Joseph Andrews_ CHAPTER VI. _How Joseph Andrews writ a letter to his sister Pamela_ CHAPTER VII. _Sayings of wise men. A dialogue between the lady and her maid; and a panegyric, or rather satire, on the passion of love, in the sublime style_ CHAPTER VIII. _In which, after some very fine writing, the history goes on, and relates the interview between the lady and Joseph; where the latter hath set an example which we despair of seeing followed by his sex in this vicious age_ CHAPTER IX. _What passed between the lady and Mrs Slipslop; in which we prophesy there are some strokes which every one will not truly comprehend at the first reading_ CHAPTER X. _Joseph writes another letter; his transactions with Mr Peter Pounce, &c., with his departure from Lady Booby_ CHAPTER XI. _Of several new matters not expected_ CHAPTER XII. -
A Rhetorical Study of Edward Abbey's Picaresque Novel the Fool's Progress
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2001 A rhetorical study of Edward Abbey's picaresque novel The fool's progress Kent Murray Rogers Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Rogers, Kent Murray, "A rhetorical study of Edward Abbey's picaresque novel The fool's progress" (2001). Theses Digitization Project. 2079. https://scholarworks.lib.csusb.edu/etd-project/2079 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A RHETORICAL STUDY OF EDWARD ABBEY'S PICARESQUE NOVEL THE FOOL'S PROGRESS A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition by Kent Murray Rogers June 2001 A RHETORICAL STUDY OF EDWARD ABBEY'S PICARESQUE NOVEL THE FOOL,'S PROGRESS A Thesis Presented to the Faculty of California State University, San Bernardino by Kent Murray Rogers June 2001 Approved by: Elinore Partridge, Chair, English Peter Schroeder ABSTRACT The rhetoric of Edward Paul Abbey has long created controversy. Many readers have embraced his works while many others have reacted with dislike or even hostility. Some readers have expressed a mixture of reactions, often citing one book, essay or passage in a positive manner while excusing or completely .ignoring another that is deemed offensive. -
Does the Picaresque Novel Exist?*
Published in Kentucky Romance Quarterly, 26 (1979): 203-19. Author’s Web site: http://bigfoot.com/~daniel.eisenberg Author’s email: [email protected] Does the Picaresque Novel Exist?* Daniel Eisenberg The concept of the picaresque novel and the definition of this “genre” is a problem concerning which there exists a considerable bibliography;1 it is also the * [p. 211] A paper read at the Twenty-Ninth Annual Kentucky Foreign Language Conference, April 24, 1976. I would like to express my appreciation to Donald McGrady for his comments on an earlier version of this paper. 1 Criticism prior to 1966 is competently reviewed by Joseph Ricapito in his dissertation, “Toward a Definition of the Picaresque. A Study of the Evolution of the Genre together with a Critical and Annotated Bibliography of La vida de Lazarillo de Tormes, Vida de Guzmán de Alfarache, and Vida del Buscón,” Diss. UCLA, 1966 (abstract in DA, 27 [1967], 2542A– 43A; this dissertation will be published in a revised and updated version by Castalia. Meanwhile, the most important of the very substantial bibliography since that date, which has reopened the question of the definition of the picaresque, is W. M. Frohock, “The Idea of the Picaresque,” YCGL, 16 (1967), 43–52, and also his “The Failing Center: Recent Fiction and the Picaresque Tradition,” Novel, 3 (1969), 62–69, and “Picaresque and Modern Literature: A Conversation with W. M. Frohock,” Genre, 3 (1970), 187–97, Stuart Miller, The Picaresque Novel (Cleveland: Case Western Reserve, 1967; originally entitled, as Miller’s dissertation at Yale, “A Genre Definition of the Picaresque”), on which see Harry Sieber’s comments in “Some Recent Books on the Picaresque,” MLN, 84 (1969), 318–30, and the review by Hugh A. -
Picaresque Translation and the History of the Novel.Pdf
The Picaresque, Translation and the History of the Novel. José María Pérez Fernández University of Granada 1. Introduction The picaresque as a generic category originates in the Spanish Siglo de Oro, with the two novels that constitute the core of its canon—the anonymous Lazarillo de Tormes (1554) and Mateo Alemán’s Guzmán de Alfarache (1599, 1604). In spite of the fact that definitions of the picaresque are always established upon these Spanish foundations, it has come to be regarded as a transnational phenomenon which also spans different periods and raises important questions about the nature and definition of a literary genre. After its appearance in the Spanish 16th century, picaresque fiction soon spread all over Europe, exerting a particularly important influence during the 17th and 18th centuries in Germany, France and above all England, after which its impact diminished gradually. A study of the picaresque calls for a dynamic, flexible, and open-ended model. When talking about the picaresque we should not countenance it as a solid and coherent whole, but rather as a fluid set of features that had a series of precedents, an important foundational moment in the Spanish 16th and 17th centuries, and then spread out in a non-linear way. It grew instead into a complex web whose heterogeneous components were brought together by the fact that these new varieties of prose fiction were responding to similar cultural, social and economic realities. These new printed artefacts resulted from the demands of readers as consumers and the policies of publishers and printers as producers of marketable goods. -
Henry Fielding's Comic Epic in Prose: a Study of Joseph Andrews in the Light
International Journal of Academic Research and Development International Journal of Academic Research and Development ISSN: 2455-4197 Impact Factor: RJIF 5.22 www.academicsjournal.com Volume 3; Issue 1; January 2018; Page No. 904-906 Henry fielding’s comic epic in prose: A study of Joseph Andrews in the light of this genre Swati Suri Assistant Professor, Shri Guru Gobind Singh College, Chandigarh, Punjab, India Abstract The eighteenth century--"our excellent and indispensable eighteenth century"-is known in the history of English literature particularly for the birth and development of the novel. In this century the novel threw into insignificance all other literary forms and became the dominant form to continue as such for hundreds of years. The pioneers of the novel were Richardson, Fielding, Smollett, and Sterne. The work of this foursome is of monumental significance, particularly because they were not only our first novelists but some of our best. "Joseph Andrews" published in 1742 is Fielding's first novel. It is a classical example of a literary work which started as a parody and ended as an excellent work of art in its own right. The work Fielding intended to parody was Richardson's first novel Pamela, or Virtue Rewarded which had taken England by storm in the years following 1740 when it was first published. Fielding was aware of giving a new literary form with Joseph Andrews which he called "a comic epic in prose." The present paper will analyze the novel Joseph Andrews in the light of this new genre. Keywords: comedy, burlesque, parody, realism, prose Introduction “Fielding started with the intention of writing a burlesque of Henry Fielding is regarded as one of the greatest writers Pamela but as the work progressed, it became the pioneer of a among English novelists of the Eighteenth century and was new type of novel.” determinant in the emergence of the novel as a respected Fielding thought he had hit upon a new genre of literature and literary form. -
Blifil As Tartuffe: the Dialogic Comedy of Tom Jones By
Blifil as Tartuffe: The Dialogic Comedy of Tom Jones By: James E. Evans Evans, James E. (1990) “Blifil as Tartuffe: The Dialogic Comedy of Tom Jones.” Comparative Literature Studies 27: 101-112. Made available courtesy of Pennsylvania State University Press: http://www.jstor.org/stable/40246740 ***Reprinted with permission. No further reproduction is authorized without written permission from Pennsylvania State University Press. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document.*** Article: Many modern interpreters of Fielding's novels, reading his declaration in the Preface to Joseph Andrews that “a comic Romance is a comic Epic-Poem in Prose,” emphasize the epic or the romance as the basis of his achievement.1 However, Homer Goldberg's assertion that “comic is clearly the most significant element of Fielding's formula” receives considerable support from Fielding's own words.2 In Tom Jones, for example, the narrator identifies himself as a “Writer whose Province is Comedy, or that Kind of Novels, which, like this I am writing, is of the comic Class.”3 Goldberg, like other scholars who follow such leads, finds Fielding's comic prototypes in narratives by Cervantes, Scarron, Le Sage, or Marivaux rather than in British or European drama. Few readers heed Andrew Wright's advice: “Fielding's knowledge of French drama—he translated La Médecin malgré lui and L'Avare—is perhaps underestimated in reckoning the extent and quality of his preparation as a dramatist for the writing of the novels he was to come to.”4 As Wright implies, the plays of Molière especially deserve greater attention as part of Fielding's self-conscious dialogue with comic tradition in Joseph Andrews and Tom Jones. -
Thesis-1969-P769l.Pdf
THE IMPORTANCE OF THE BURLESQUE ASPECTS OF JOSEPH.ANDREWS, A NOVEL BY HENRY FIELDING By ANNA COLLEEN POLK Bachelor of Arts Northeastern State College Tahlequah, Oklahoma 1964 Submitted to the Faculty ot the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS May, 1969 __ j OKLAHOMA STATE UNIVERSITY LIBRARY 8iP 291969 THE IMPORTANCE OF THE BURLESQUE ASPECTS OF JOSEPH ANDREWS, A NOVEL BY HENRY FIELDING Thesis Approved: ~~ £~ 1{,· if'~ Jr-- Dean of the Graduate College 725038 ii PREFACE This thesis explores the·impottance of the burlesque aspects of Joseph Andrews, a novel by Henry Fielding· published in 1742. The· Preface. of.· the novel set forth a comic. theory which was entirely English and-which Fielding describes as a·11kind of writing, which l do not remember-· to have seen· hitherto attempted in our language". (xvii) •1 . The purpose of this paper will be to d.iscuss. the influence o:f; the burlesque .in formulating the new-genre which Fielding implies is the cow,:l..c equivalent of the epic. Now, .·a· comic· romance is a comic epic poem in prose 4iffering from comedy, as the--·serious epic from tragedy its action· being· more extended ·and· c'omp:rehensive; con tainiµg ·a ·much larger circle of·incidents, and intro ducing a greater ·variety of characters~ - lt differs :f;rO'J;l;l the serious romance in its fable and action,. in· this; that as in the one·these are·grave and solemn, ~o iil the other they·are·light:and:ridiculous: it• differs in its characters by introducing persons of. -
Justice Fielding, the Novel, and the Law
Justice Fielding, the Novel, and the Law Martin C. Battestin with Ruthe R. Battestin, Henry Fielding: A Life. Routledge, Chapman & Hall (1990). 738 pp. $45.00. AHen D. Boyer For as I am, in reality, the founder of a new province of writing, so I am at liberty to make what laws I please therein. - Henry Fielding Henry Fielding, who wrote the English language's first good comic novels, was the man who founded England's first modem police force. This understanding lies at the heart of Henry Fielding: A Life, by Martin Battestin, and it matters far more than many better-known connections between law and literature: that Scott was a lawyer, that Kafka was a lawyer, that Dickens was a solicitor's clerk, that Melville spent his work- ing life surrounded by judges. The most revealing passage in Fielding's novels comes near the end of Joseph Andrews. Joseph, his betrothed Fanny, and Parson Abraham Andrews have undergone a particularly harrowing journey across the English countryside-mistaken for robbers, set upon by robbers, cursed at by innkeepers, scorned by parsons. Fanny, at last, is kidnapped, car- ried off by a crooked old soldier, one of the local squire's henchmen. They meet one traveler; Fanny cries out that she is about to be raped; the captain explains that he is carrying home his runaway wife. But then they meet two outriders for a coach: [T]he captain abused her violently for breaking his commands, and threaten'd to gagg her; when two more horsemen, armed with pis- tols, came into the road just before them. -
Prudes, Lusciousness and Joseph Andrews
SYDNEY STUDIES Prudes, Lusciousness and Joseph Andrews MICHAEL ORANGE It is not surprising that in selecting one kind of writing about sexuality as the occasion for his own counter-narratives Fielding created intractable difficulties for himself. Parody demands likeness, as the relationship between Richardson's novel Pamela and his own Shamela shows, and even the measure ofliberation from parody that Joseph Andrews provides turns out to be minimal when desire and its deferment are engaged. TIle parodic nature of Fielding's project in his earliest novels almost guarantees that they will subvert themselves because of his commitment to exploring sexuality. Like Richardson he was a product of his own times and his writing is therefore partly determined by (as well as helping to define) eighteenth-century notions of sexuality, which can seem peculiarly alien to readers today. And these difficulties are compounded by the nature of prose fiction itself, to Fielding literally novel. He saw himself as an experimenter within a new form. Perhaps historically he was hardly in a position to realize that while protesting vigorously about voyeurism he had committed him~elf to an intensely voyeuristic medium. The parodic Shamela overcomes voyeurism by robustly converting it into an opportunity for comedy. Fielding found his distinctive voice as a novelist from the beginning, as though his forced retirement from playwriting1 made him value the novel as a form precisely because it gave him a direct presence as narrator not possible to him in the theatre, while still allowing theatrical presentations of a variety of selves. One ofthose personae used to be equated with Fielding himself, with common sense, robustness, heartiness and so forth2 (less easy since the 1 See Martin C. -
The Picaresque According to Cervantes Chad M
World Languages and Cultures Publications World Languages and Cultures Winter 2010 The picaresque according to Cervantes Chad M. Gasta Iowa State University, [email protected] Follow this and additional works at: http://lib.dr.iastate.edu/language_pubs Part of the Spanish Literature Commons The ompc lete bibliographic information for this item can be found at http://lib.dr.iastate.edu/ language_pubs/13. For information on how to cite this item, please visit http://lib.dr.iastate.edu/ howtocite.html. This Article is brought to you for free and open access by the World Languages and Cultures at Iowa State University Digital Repository. It has been accepted for inclusion in World Languages and Cultures Publications by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. The picaresque according to Cervantes Abstract There is an unfortunate and enduring belief among non-Hispanist scholars that Miguel de Cervantes was a writer of the picaresque and that his most famous protagonist, Don Quixote, is a picaresque (anti)hero. This misjudgment, mostly outside Spain, has historical roots, starting with Cervantes' own contemporaries, and has lasted to the present. The misunderstanding stems firstly from the fact that many scholars are unfamiliar with the Spanish picaresque. This is confounded by the fact that Cervantes did indeed integrate numerous features of the Spanish picaresque into several of his works, especially Don Quixote and his Exemplary Novels. However, this problem extends beyond Cervantes to a number of authors whose works have been lumped into the picaresque with disregard for what the genre entails. -
Copyrighted Material
1 The 1740s Patricia Meyer Spacks Exuberance marked British literary production in the 1740s. In prose and in poetry, the decade saw a vivid explosion of energy. Poetry ranged from Samuel Johnson’s passionate Vanity of Human Wishes (1749), composed in heroic couplets and imi- tating a classical model, to William Collins’s Odes (1747), innovative in form and content; from Alexander Pope’s Dunciad (1743), a satiric anti-epic in couplets, to the final version of James Thomson’s The Seasons (1744), a long blank verse poem with a rhapsodic view of the natural world. Prose fiction included moralized fable, social satire, imitation biography and autobiography, sentimental investigation, action narrative, erotic exploration, and various combinations. The many important pub- lished novels did not necessarily have much in common. Clarissa (1747–1748) bears little obvious resemblance to Roderick Random (1748). Eliza Haywood’s Anti‐Pamela (1741) and Henry Fielding’s Joseph Andrews (1742) share almost nothing beyond their common satirical target of Pamela (1740). The efflorescence of fiction implied only a few widely held assumptions about what the novel is, does, or should do. Most of its manifestations, however, suggested a conviction that fiction, providing vicar- ious experience for its readers, should dramatize for them human experience in its common forms. That rather obvious project carried significant weight in the 1740s. The notion that experience provides theCOPYRIGHTED only secure basis for knowledge MATERIAL was at the heart of philosophic empiricism, strongly articulated by the philosopher David Hume, whose Treatise of Human Nature (1739–1740) insisted that we must content ourselves with experience as the stuff of knowledge and that experience provides sufficient basis for the conduct A Companion to the English Novel, First Edition. -
FIELDING Henry Austin Dobson
FIELDING Henry Austin Dobson CHAPTER I. EARLY YEARS—FIRST PLAYS. LIKE his contemporary Smollett, Henry Fielding came of an ancient family, and might, in his Horatian moods, have traced his origin to Inachus. The lineage of the house of Denbigh, as given in Burke, fully justifies the splendid but sufficiently quoted eulogy of Gibbon. From that first Jeffrey of Hapsburgh, who came to England, temp. Henry III., and assumed the name of Fieldeng, or Filding, “from his father‟s pretensions to the dominions of Lauffenbourg and Rinfilding,” the future novelist could boast a long line of illustrious ancestors. There was a Sir William Feilding killed at Tewkesbury, and a Sir Everard who commanded at Stoke. Another Sir William, a staunch Royalist, was created Earl of Denbigh, and died in fighting King Charles‟s battles. Of his two sons, the elder, Basil, who succeeded to the title, was a Parliamentarian, and served at Edgehill under Essex. George, his second son, was raised to the peerage of Ireland as Viscount Callan, with succession to the earldom of Desmond; and from this, the younger branch of the Denbigh family, Henry Fielding directly descended. The Earl of Desmond's fifth son, John, entered the Church, becoming Canon of Salisbury and Chaplain to William III. By his wife Bridget, daughter of Scipio Cockain, Esq., of Somerset, he had three sons and three daughters. Edmund, the third son, was a soldier, who fought with distinction under Marlborough. When about the age of thirty, he married Sarah, daughter of Sir Henry Gould, Knt., of Sharpham Park, near Glastonbury, in Somerset, and one of the Judges of the King‟s Bench.