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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. -
SOURCE01.Pdf
EPIC AND MOCK EPIC IN ENGLAND IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES J.S. RYAN Department of English University of New England Armidale , N S .14 1981 1981 Copyright is reserved to J.S. Ryan and Department of English, University of New England Printed by the University of New England, Armidale, New South Wales. CONTENTS Greek Epic 1 Epos 1 Aristotle 1 Epic setting 2 Simple action 2 Known story 3 Meaning of epic as critical term 4 Primitive epic 5 Primary epic Non Indo-European epic 6 Dantes L'ivine Comed 6 Secondary epic 7 Aeneid (--and Shaw) 7 Renaissance epic 8 Contemporary theme 9 Relation to the past 10 Style for secondary epic 11 Destiny and conscience 12 Responsibility 12 Classical influences - Milton 13 Satan 14 Like classical deities 15 Adams dilemma 16 Expulsion of Adam and Eve 18 Miltons focus 19 Walter Raleigh on Miltons Style 21 i iv Nimes and Nouns 71 John Dryden 22 Ancients Moderns 23 Nock heroic 24 Drydens mock heroics 24 pics in translation 26 Alexander Pope 26 Fielding and the epic novel 29 Samnel Richardsons Pamela 30 Fieldings classicism 31 The Town and Country 32 Social comedy and dignified picaresque 33 Including history 34 Sequel 34 The last epic poetry in english 35 BiblLography 37 GREEK EPIC Epic poetry, always associated in the mind of Western man the two homeric poems, the Iliad and the OdLissey, is both reckoned as the oldest and also ranked highest of the Greek literary types (being the first listed in Aristotles (2n the Art of Poetm, chap, 1). -
Henry Fielding: Early Editions in the University of Arizona Libraries with an Appendix: Early Editions of Sarah Fielding
Henry Fielding: Early editions in the University of Arizona Libraries with an appendix: Early Editions of Sarah Fielding Item Type Text Authors Happe, Marguerite, 1991- Publisher Tucson, Arizona : Department of Special Collections University of Arizona Libraries Download date 30/09/2021 07:02:47 Link to Item http://hdl.handle.net/10150/625480 Henry Fielding: Early Editions in the University of Arizona Libraries Marguerite Happe Henry Fielding: Early Editions in the University of Arizona Libraries With an Appendix: Early Editions of Sarah Fielding Marguerite Happe Department of Special Collections University of Arizona Libraries Tucson 2017 Copyright © 2017 Arizona Board of Regents For the University of Arizona Libraries EARLY EDITIONS 3 Preface AMONG the notable holdings in the University of Arizona Libraries is a particularly strong collection of early printed editions of Restoration and Eighteenth-Century English drama and related literary material. Much of this collection is part of the legacy of Thomas Edward Hanley (1893-1969), a wealthy Pennsylvania industrialist, a sage collector of books and art, and a mildly eccentric but singularly generous donor. From 1936 through 1962 Hanley donated to the UA Libraries more than 38,000 books, most of them in the humanities and fine arts. Soon afterwards the collection was further developed as the UA Libraries as a whole rapidly advanced, under the vigorously supportive administration of President John P. Schaefer (1971-1982), from indifferent national rankings to seventeenth among all academic lib- raries in America. One of the authors best represented in the collection is the playwright, novelist, and judicial magistrate Henry Fielding (1707-1754). -
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. -
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. -
Henry Fielding's Joseph Andrews As a Picaresque
HENRY FIELDING’S JOSEPH ANDREWS AS A PICARESQUE NOVEL DR. MANISH D. BHATT Assistant Professor, Department of English, Vijaynagar Arts College, Vijaynagar - 383460 Dist. S. K. (GJ) INDIA Henry Fielding was born at Sharpham Park in the vicinity of Glastonbury in 1707.It was Sir Gould’s countryside estate. The novelist was the eldest son of Sarah and Edmund. He passed some of his time with Lady Gould, his grandmother. There he developed a taste for law and read something of literature. Fielding died in October, 1754. Before that he was gripped by gout. In 1753 his health showed a considerable deterioration. It became exceedingly difficult for him to perform his magisterial duties. Since the climate of England did not suit him, it was suggested that he should seek a ‘milder climate’. He left the country for Lisbon in Portugal and expired there. The general impression that we gather from his life shows that his career had been that of a protracted struggle. The parental affluence left him in lurch. The political fight undertaken by him was constant and vigorous. His literary understanding was of a kind which not only created a stir in that century, but blazed the trail of light followed by writers of the subsequent periods, a force which pierced through a history of novel writing which came in his wake and after. INTRODUCTION Fielding is regarded as one of the most well-known novelist of 18th century. Joseph Andrews was the first novel written by him. It was published in 1742 as a parody of Samuel DR. -
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. -
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. -
THE TRAGEDY of TRAGEDIES OR the LIFE and DEATH of Tom Thumb the Great
THE TRAGEDY OF TRAGEDIES OR THE LIFE and DEATH OF Tom Thumb the Great Henry Fielding THE TRAGEDY OF TRAGEDIES OR THE LIFE and DEATH OF Tom Thumb the Great Table of Contents THE TRAGEDY OF TRAGEDIES OR THE LIFE and DEATH OF Tom Thumb the Great........................1 Henry Fielding...............................................................................................................................................2 ACT I.............................................................................................................................................................4 SCENE I.........................................................................................................................................................5 SCENE II.......................................................................................................................................................7 SCENE III......................................................................................................................................................8 SCENE IV....................................................................................................................................................11 SCENE V.....................................................................................................................................................12 SCENE VI....................................................................................................................................................14 ACT II..........................................................................................................................................................15 -
Ballad Opera in England: Its Songs, Contributors, and Influence
BALLAD OPERA IN ENGLAND: ITS SONGS, CONTRIBUTORS, AND INFLUENCE Julie Bumpus A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 7, 2010 Committee: Vincent Corrigan, Advisor Mary Natvig ii ABSTRACT Vincent Corrigan, Advisor The ballad opera was a popular genre of stage entertainment in England that flourished roughly from 1728 (beginning with John Gay's The Beggar's Opera) to 1760. Gay's original intention for the genre was to satirize not only the upper crust of British society, but also to mock the “excesses” of Italian opera, which had slowly been infiltrating the concert life of Britain. The Beggar's Opera and its successors were to be the answer to foreign opera on British soil: a truly nationalistic genre that essentially was a play (building on a long-standing tradition of English drama) with popular music interspersed throughout. My thesis explores the ways in which ballad operas were constructed, what meanings the songs may have held for playwrights and audiences, and what influence the genre had in England and abroad. The thesis begins with a general survey of the origins of ballad opera, covering theater music during the Commonwealth, Restoration theatre, the influence of Italian Opera in England, and The Beggar’s Opera. Next is a section on the playwrights and composers of ballad opera. The playwrights discussed are John Gay, Henry Fielding, and Colley Cibber. Purcell and Handel are used as examples of composers of source material and Mr. Seedo and Pepusch as composers and arrangers of ballad opera music.