Novel Beginnings: Experiments in Eighteenth-Century English FictionIn this study intended for general readers, eminent critic Patricia Meyer Spacks provides a fresh, engaging account of the early history of the English novel. Novel Beginnings departs from the traditional, narrow focus on the development of the realistic novel to emphasize the many kinds of experimentation that marked the genre in the eighteenth century before its conventions were firmly established in the nineteenth. Treating well-known works like Tom Jones and Tristram Shandy in conjunction with less familiar texts such as Sarah Fielding’s The Cry (a kind of hybrid novel and play) and Jane Barker’s A Patch-Work Screen for the Ladies (a novel of adventure replete with sentimental verse and numerous subnarratives), the book evokes the excitement of a multifaceted and unpredictable process of growth and change. Investigating fiction throughout the 1700s, Spacks delineates the individuality of specific texts while suggesting connections among novels. She sketches a wide range of forms and themes, including Providential narratives, psychological thrillers, romans à clef, sentimental parables, political allegories, Gothic romances, and many others. These multiple narrative experiments show the impossibility of thinking of eighteenth-century fiction simply as a precursor to the nineteenth-century novel, Spacks shows. Instead, the vast variety of engagements with the problems of creating fiction demonstrates that literary history—by no means inexorable—might have taken quite a different course. |
From inside the book
Results 1-5 of 90
Page 5
... women writers considered as a group. Such criticism has helped to create a situation in which it becomes possible to think about the way that men and women simultaneously shaped the course of English fiction. First, though, something ...
... women writers considered as a group. Such criticism has helped to create a situation in which it becomes possible to think about the way that men and women simultaneously shaped the course of English fiction. First, though, something ...
Page 6
... women , too , made their way to London , only to endure , often , misery and degradation . Entrepre- neurial gifts and energy might find abundant reward , legal or illegal , but the city remained — as many novels would remind their ...
... women , too , made their way to London , only to endure , often , misery and degradation . Entrepre- neurial gifts and energy might find abundant reward , legal or illegal , but the city remained — as many novels would remind their ...
Page 7
... women , to whom few legitimate and profitable occupa- tions were open . Writing as a trade was minimally respectable for women , vaguely associated with prostitution , but it did not disgrace a woman prac- titioner as definitively as ...
... women , to whom few legitimate and profitable occupa- tions were open . Writing as a trade was minimally respectable for women , vaguely associated with prostitution , but it did not disgrace a woman prac- titioner as definitively as ...
Page 8
... women were major experimenters, and they had a large contemporary audience. By late in the century, lending libraries had expanded this audience, charging a fee for the loan of books. Their regular patrons included many women, and women ...
... women were major experimenters, and they had a large contemporary audience. By late in the century, lending libraries had expanded this audience, charging a fee for the loan of books. Their regular patrons included many women, and women ...
Page 9
... women who entertained themselves with porcelain and jewels, women of the upper classes, were allowed little occupation beyond needle- work, shopping, visiting, and polite accomplishments. Their leisure status reflected positively on the ...
... women who entertained themselves with porcelain and jewels, women of the upper classes, were allowed little occupation beyond needle- work, shopping, visiting, and polite accomplishments. Their leisure status reflected positively on the ...
Contents
28 | |
58 | |
4 Novels of Consciousness | 92 |
5 The Novel of Sentiment | 126 |
6 The Novel of Manners | 160 |
7 Gothic Fiction | 190 |
8 The Political Novel | 222 |
9 Tristram Shandy and the Development of the Novel | 254 |
What Came Next | 276 |
Suggestions for Further Reading | 286 |
Works Cited | 292 |
Index | 298 |
Other editions - View all
Novel Beginnings: Experiments in Eighteenth-Century English Fiction Patricia Meyer Spacks Limited preview - 2008 |
Novel Beginnings: Experiments in Eighteenth-century English Fiction Patricia Ann Meyer Spacks No preview available - 2006 |
Common terms and phrases
action adventure appears behavior Caleb Williams calls attention Camilla century chapter characters claims Clarissa concern consciousness conventions conveys crucial David Simple death declares Defoe despite eighteenth eighteenth-century fiction elaborate Eliza Haywood Emma emotional episodes epistolary novel Evelina experience fact Falkland father feeling female Fielding's first-person narrative Gothic Gothic fiction Gothic novels happenings Haywood Hermsprong heroine human Humphry Clinker husband imagined important individual insists Jones kind lack Lady letters literary Lord Elmwood Lord Orville Love in Excess lover Manley marriage marry Matilda means mind Miss Moll Flanders moral mother narrative narrator narrator's nature novel of development novelists offers Pamela pleasure plot political possibility protagonist provides psychological reader reading realism response Richardson Robinson Crusoe romance Roxana Sarah Fielding sense sensibility sentimental fiction sentimental novels servant sexual Sidney Bidulph social story structure sublime suffering suggests tells tion Tom Jones Tristram Shandy virtue women writers Yorick