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During the first two decades of his career, Richardson’s role as printer was hardly limited to setting the type for the periodicals that issued from his shop. Perhaps the most glaring evidence of his intervention in producing text is the fact that both The True Briton (1723-24) and The Weekly Miscellany (1732-41) just happen to have letters supposedly from women who protest the legal restraints against their participation in the public sphere. Neither the Duke of Wharton, the owner of The True Briton, nor William Webster, the desperately impecunious producer of The Weekly Miscellany, launched their journals with the objective of advancing radical views about political equality for women. But almost inadvertently this middle-aged, rotund printer at Salisbury Court was quietly feminizing journalism. After his first experiments in Wharton’s anti-Walpole journal he developed his satiric powers in the Miscellany by creating not only his own feisty counterpart to Pope’s coquette Belinda but even partnering with Sarah Chapone’s subversive Delia. As an outlier in what was perceived to be a corrupt, predatory political world, Richardson readily assumed a female voice to express his resistance.
This book provides a comprehensive reading of Samuel Richardson's novels. Using a combination of literary theory and criminology, Christopher D. Johnson demonstrates that Richardson not only understood the horrific dynamics of domestic violence, but also recognized the degree to which his first novel, Pamela: or, Virtue Rewarded (1740) could inadvertently normalize abusive relationships. This recognition informed Richardson's subsequent novels and fueled his distrust of novelistic fiction, especially those comedic works that depend on sudden transformations. It also caused him to draw careful delineations between the practical instruction he hoped to provide and the ideals of his Christian faith, particularly as they pertain to earthly suffering and self-sacrifice. The Richardson who emerges from the study becomes both a staunch defender of what he saw as a benevolent patriarchy and a fierce advocate for women's subjectivity, happiness and safety.