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This volume documents the literary controversy and debate over Samuel Richardson's novel, "Pamela", published in 1741. It brings together and reprints key sources within the debate, including artists such as Francis Hayman, Hubert Gravelot, Joseph Highmore and Philip Mercer.
This volume documents the literary controversy and debate over Samuel Richardson's novel, "Pamela", published in 1741. It brings together and reprints key sources within the debate, including artists such as Francis Hayman, Hubert Gravelot, Joseph Highmore and Philip Mercer.
This volume documents the literary controversy and debate over Samuel Richardson's novel, "Pamela", published in 1741. It brings together and reprints key sources within the debate, including artists such as Francis Hayman, Hubert Gravelot, Joseph Highmore and Philip Mercer.
Although the emergence of the English novel is generally regarded as an eighteenth-century phenomenon, this is the first book to be published professing to cover the 'eighteenth-century English novel' in its entirety. This Handbook surveys the development of the English novel during the 'long' eighteenth century-in other words, from the later seventeenth century right through to the first three decades of the nineteenth century when, with the publication of the novels of Jane Austen and Walter Scott, 'the novel' finally gained critical acceptance and assumed the position of cultural hegemony it enjoyed for over a century. By situating the novels of the period which are still read today against the background of the hundreds published between 1660 and 1830, this Handbook not only covers those 'masters and mistresses' of early prose fiction-such as Defoe, Richardson, Fielding, Sterne, Burney, Scott and Austen-who are still acknowledged to be seminal figures in the emergence and development of the English novel, but also the significant number of recently-rediscovered novelists who were popular in their own day. At the same time, its comprehensive coverage of cultural contexts not considered by any existing study, but which are central to the emergence of the novel, such as the book trade and the mechanics of book production, copyright and censorship, the growth of the reading public, the economics of culture both in London and in the provinces, and the re-printing of popular fiction after 1774, offers unique insight into the making of the English novel.
In the seventeenth and eighteenth centuries, popular works of literature attracted—as they attract today—sequels, prequels, franchises, continuations, and parodies. Sequels of all kinds demonstrate the economic realities of the literary marketplace. This represents something fundamental about the way human beings process narrative information. We crave narrative closure, but we also resist its finality, making such closure both inevitable and inadequate in human narratives. Many cultures incorporate this fundamental ambiguity towards closure in the mythic frameworks that fuel their narrative imaginations. New Testaments: Cognition, Closure and the Figural Logic of the Sequel, 1660-1740 examines both the inevitability and the inadequacy of closure in the sequels to four major works of literature written in England between 1660 and 1740: Paradise Lost, The Pilgrim’s Progress, Robinson Crusoe, and Pamela. Each of these works spawned sequels, which—while often different from the original works—connected themselves through rhetorical strategies that can be loosely defined as figural. Such strategies came directly from the culture’s two dominant religious narratives: the Old and New Testaments of the Christian Bible—two vastly dissimilar works seen universally as complementary parts of a unified and coherent narrative.