THE FLOURISHING OF THE NOVEL

Modern novel began to develop during the 18th century. The term novel derives
from the Latin novus and from the Italian novella. It was in opposition to the
term romance referring to a chivalric story in verse. It was used to refer to a
prose fiction which was new because it told stories about recent events. There
were many causes which brought to the development of the Novel!
e"pansion of the reading public growth of a new middle class different position
of women economic reasons. #eople who were richer than before could afford
buying boo$s and women had more time for reading because after the industrial
revolution they had much free time at home! they could buy in shops the
products which before were handmade in the houses. #ublishing became a
profitable business than$s to the spread of literacy and of reading as a form of
entertainment among the wealthy middle class. The professional writers began to
appear. They did not have rich patrons but earned their living by writing essays
and boo$s. This new situation together with the creation of the circulating
libraries which borrowed boo$s in return of a small subscription fee increased
the numbers of readers. %et the number of those who could afford buying boo$s
was very small and there was still widespread illiteracy. The masses gained a low
salary and boo$s were still very e"pensive to buy. There was no real public
education system yet. #oor children had little opportunities to study since they
were used as industrial labourers and a huge number of people could neither read
nor write.
The 18th century novel was labelled as realistic novel: the characters were real
people with ordinary names and surnames& they were described in their daily
routines& the settings were real geographical places and the contents were ta$en
from real stories. 'nli$e the early (ugustans the novelists li$ed to write about
ordinary people acting in real)life situations. The novelists tried to meet their
middle)class readers who wanted to read about ordinary people because they
en*oyed seeing themselves as protagonists of the stories. They were the ones who
bought the boo$s and conse+uently the authors point of view was the same as the
readers one.
The most important novelists of the time were! ,aniel ,efoe -onathan .wift
.amuel /ichardson 0enry 1ielding and Laurence .terne. .ome of them devoted
to writing because as an effect of the Test Act of 1673, being /oman 2atholics or
,issenters they were forbidden to hold any important position in society and
chose to become novelists or *ournalists.
DANIEL DEFOE
,efoe is considered the pioneer of the modern novel and the first novelist in the
3nglish literature as well as the first *ournalist 4his The Review is considered the
first newspaper5. 0e interpreted the li$es and interests of the emerging middle
class and depicted the 18th century world. ,e 1oes characters are common
men and women with whom his middle)class readers could identify themselves.
(ll characters of his novel narrate their individual struggles for survival in a
difficult world from Moll 1landers a prostitute thief and incestuous wife to
/obinson 2rusoe 2olonel -ac$ 2aptain .ingleton and /o"ana.

0is novel The Life and Strange Surprising Adventures of Robinson Crusoe of
or!, "ariner is regarded as the first English novel. The novel is a true
realistic novel! it is based on the real story of a .cotch sailor (le"ander .el$ir$
who had lived alone for four years on the Isle of -uan 1ernande6 in the #acific
after a shipwrec$. The story is told in the first person singular in the form of a
diary.
Robinson Crusoe is the first narrative in which the character is not a hero but an
average man. ,e 1oe went on with the puritan ideas that had survived even after
the collapsing of the #uritan /epublic of the 2ommonwealth. /obinson a
shipwrec$ed merchant who remained on a desert island for about 78 years is
considered the true puritan man! he showed industry coloni6ing spirit courage
and initiative and was seen by the readers as the personification of their own
+ualities! practical)minded resourceful religious. 0e organi6ed his life on the
island and succeeded through hard labour in surviving in a difficult situation
e"ploiting all what the entire place offered. 1urther he not only made the native
man 1riday to accept him as master but also made him use his language and
converted him to 2hristianity. Many critics charged this novel with being an
imperialistic novel because it contained an affirmation of capitalism and saw man
as an economic animal. /obinson was considered by those critics as the first
capitalist hero in 3nglish literature because he loo$ed at everything in economic
terms! produced more than he needed $ept from the ship a lot of things
e"panded his power on the whole island and eventually became rich. They
pointed out that when /obinson managed to go on board the ship which had
been carried within a reaching distance he also $ept some money which of
course was of no use on a desert island.
ONATHAN S!IFT
.wift was the greatest satirist of his age. 'sing irony and satire he tried to change
his own society and attac$ed it at all levels. Together with Alexander Pope
and others he established the Scriblerus "lub an association of witty writers
who satiri6ed their contemporaries. #eople of his own time failed to see the irony
and sometime they cried shame. (n (nglican priest he was appointed ,ean of
.t #atric$s 2athedral in ,ublin where he was buried. ( Latin epigraph he had
composed himself was placed over his tomb! 8The body of -onathan .wift ,octor
of .acred Theology ,ean of this 2athedral 2hurch is buried here where fierce
indignation can no more lacerate his heart9:
.wift is remembered for his #ulliver$s Travels a novel that li$e Robinson
Crusoe is nowadays regarded as a boo$ for children and as an anticipation of the
modern fantasy novel. (ctually the boo$ was intended to be a bitter satire of his
own country. .wift himself wrote to #ope that it 8was intended to ve" the world
rather than divert it:. The novel satiri6es the follies and the vices of politicians
and scholars and is a very serious comment on politics on learning and on all
Man$ind. It shows .wifts bad opinion on people. 0e is very intolerant of people
in general and once he wrote to #ope! 8I heartily hate and detest that animal
called man:. 0e maintains that man is not a reasonable animal but an animal
endowed with reason which he is not always able to use in the right
way. ;ullivers Travels tells the various imaginary voyages of Lemuel ;ulliver a
surgeon on a ship to various strange lands where he meets several man)li$e
creatures. The philosophical basis of the whole novel is in the contrast
between rationality and animality. In the first boo$ he is shipwrec$ed
near Lilliput where he meets a race of tiny people only si" inches tall and he is
a giant among them. /ationality is represented by the Lilliputians with their
organi6ed society and their deep $nowledge of mathematical science in contrast
with ;ulliver described as a big body. In boo$ 7 the situation is reversed! he is
in Brobdingnag the land of giants and he is a dwarf among them. The giants
embody animality while ;ulliver rationality. In the third boo$ he visits the flying
island of Laputa inhabited by scientists concerned with abstract ideas. 0e visits
the 'niversity of Lagado where he meets the 8pro*ectors: who wor$ on new
scientific odd plans! ta$e sunbeams out of cucumbers melt ice into
gunpowder and so on. They are presented in a decadent way! badly dressed long
hair and beard very dirty and even as beggars. (nimality is seen in the scientists
while rationality is seen in man. In the last boo$ he is in the land of
the Houyhnhnms intelligent horses that can tal$. They are perfectly rational
and virtuous. They have man)li$e slaves the Yahoos who are bestial irrational
and vicious. ;ulliver himself is seen by the 0ouyhnhnms as a %ahoo. In these
various countries ;ulliver e"plains to the inhabitants about life in 3urope and in
particular in 3ngland. <hat ;ulliver says is how things should be not how they
are and so his words become an ironical attac$ on what he is describing. In the
first boo$ he attacks the English overnment and the hypocrisies of the
party system. !atholic "eligion is ironically attac$ed too. .wift comments the
dispute over whether an egg should be bro$en to be eaten at the big end or at
the little end! 8all true believers shall brea$ their eggs at the most convenient
end:. In the second boo$ he attac$s the #udicial and the political system in
=ritain aiming at stressing the hypocrisy and corruption practised in
the $nstitutions. In the third boo$ there is an attac$ on science and on
members of the /oyal .ociety while in the fourth and last he attacks man.
<hen he comes home after his rescue he cannot accept the human race any
longer. The human beings appear to him li$e the %ahoos and he goes to live in a
stable with the company of horses.
.wift was not insensible to the sufferings of the $rish and he was indignant at
their e"ploitation by the =ritish ;overnment. The Irish lived on bad condition.
0e wrote and published a wor$ in defence of Ireland! "odest %roposal fro&
%reventing the Children of poor people fro& being a burden to their parents or
the countr'. It was a new attack against the English. 'sing satire he
e"plained that the misery of the starving Irish could be easily relieved by selling
their children to the rich as food. There was also another benefit for the Irish! it
should have solved the problem of overpopulation of Ireland too. It was of course
a provocation but at the times some foreign readers too$ it as an actual and
serious one and there was +uite a scandal.
SA#UEL RI"HARDSON
0e is considered the inventor of the e$istolar% novel and the father of the
novel of sentimental analysis. 0e introduced psychological studies of the
characters especially women. 0e started his career as a novelist +uite late in his
life when some boo$sellers as$ed him to help the uneducated in their
correspondence writing a se+uence of letters dealing with everyday sub*ects.
(mong these letters were to be included some to instruct pretty servant)girl to
protect their virtue. 0e li$ed this idea also because when he was at school he
used to be the adviser of girls who wanted to correspond with their sweethearts.
0e decided to ma$e a novel from the letters and wrote %a&ela, or virtue
Rewarded. 0e chose an actual case he had heard of in which a virtuous 1>)year)
old maidservant who wor$ed in a rich household had resisted her masters
advances.
The story is told through a series of letters from #amela (ndrews to her parents
and their answers to her. .he as$ed for advice to defend herself from her master
Mr = who wanted to seduce her. #ublished in ?ovember 1@AB the novel had an
instant success and it was followed by a second edition in 1ebruary 1@A1 a third
in March and even a fourth in May. (s we can see #amela originated from the
realistic moral problem for many young girls who wor$ed as maids! how to resist
the advances of their rich masters. #amela celebrates the middle)class value of
chastity before marriage in opposition to the lasciviousness of the aristocracy.
The theme of the persecuted maiden attracted many readers. The readers divided
into 8#amelists: who were for #amela and 8(nti)#amelists: who critici6ed her.
Pamelists maintained that she was a poor and simple girl who tried to $eep
herself honest and chaste. Anti%Pamelists instead maintained that her
behaviour was not guided by purity but by utilitarianism! she was a cunning girl
who used her virtue to climb the social ladder and she provo$ed her master to
ma$e him marry her. In the 18thcentury many people thought
that virginity was not a value for a poor girl to defend and that it was her duty as
a servant to please her master. ?ot all women considered chastity and honesty
virtues to be defended. 1or instance Moll 1landers the heroine created by ,e 1oe
uses her beauty and her seductive charm to improve the conditions of her
miserable life. %a&ela is considered the first best%seller in 3nglish Literature.
It had got a happy ending she married Mr =. and it pleased the readers women
above all helping its success.Clarissa (arlowe his second epistolary novel is
considered /ichardsons masterpiece. It deals with a woman who tries to escape
from a combined marriage to a man she does not li$e. .he finds refuge at a
noblemans who seduces and rapes her. 2larissa refuses to marry him and
eventually lives as an outcast condemned by society.
/ichardsons success in his own age is mostly due to the sub*ect matter of his
novels and to the techni+ue of narration he used. (s far as the former that is the
theme of women who defend their virtues from the advances of a powerful man
it appealed to a vast audience above all women who constituted the larger part of
the reading public. The other element was the suspense created by the techni+ue
that /ichardson used. 0e himself defined it as 8&riting to the moment:. This
techni+ue is a bit similar to the one used in modern soap operas! each letter
dealing with the present has got elements whose conse+uences will happen in the
ne"t letter thus letting the reader wait.

HENR& FIELDING
0e was the first 3nglish novelist to introduce the burles'ue element in the
novel. 0e defined his novels as 8co&ic epic poe& in prose. The moc$ epic is a
parody of the epic because it treats trivial things as if they had great importance.
The protagonist is involved in a series of apparently dangerous adventures.
1ielding was different from ,e 1oe and /ichardson. 0e belonged to the
aristocracy and unli$e them& he did not believe in se"ual chastity above all other
virtues. The aristocracy regarded uninhibited se"uality with indulgence and
considered other virtues as courage generosity and loyalty above it. 0is first
novel An Apolog' for the Life of "rs Sha&ela Andrews is to be considered as a
reaction against the hypocrisy of the time as well as a reaction to
/ichardsons %a&ela. 1ielding wanted to ridicule the #uritan view of morality.
The Sha&ela in the title is a pun on the words of 8shame: and #amela. In his
second novel )oseph Andrews he wanted at first to parody
/ichardsons %a&ela but he put aside this idea and wrote a story based on the life
and adventures of -oseph #amelas brother and a friend of his. The situation is
reversed and we have a young man who wor$s at a ladys that wants to seduce
him after her husbands death. -oseph who is chaste and virtuous refuses her
advances.
To& )ones his best novel is a picture of the life of the lower and upper classes of
the 18thcentury society. 1ielding depicts with humour and irony human
wea$nesses and stresses his tolerant attitude towards them. Tom is an unheroic
character and has all the limits of the ordinary man. 1ieldings novels are
considered picares'ue in style written in imitation of 2ervantes 4#icares+ue
novels come from .pain and deal with the adventures of a rascal of low social
class& they are usually humorous full of action and e"citement5.
LAUREN"E STERNE
In his own time .terne was considered an anti%novelist because he did not
follow the canons of the realistic novel. 0e is the closest novelists to the modern
ones of all eighteenth century novelists. 0is novel The Life and *pinions of
Tristra& Shand', #entle&an was written in instalments in nine volumes
between 1@>C and 1@D@. It does not respect the 18th century canons of the
realistic novel. It is unconventional and very difficult to summari6e. It recalls the
stream of consciousness techni+ue of -oyce and <oolf! it has no plot no time
scheme& it is full of the authors interventions digressions comments asides
long +uotations and many unusual devices and eccentric typographical
characteristics as blac$ pages 4to mourn a friends death5 marbled pages white
pages asteris$s arabes+ues a little hand with printed finger to direct the
readers attention to a point . <hen a digression ta$es places the author shifts
from the main theme of the novel to other topics which are not related with what
the character is going to do or say. The time of the story is interrupted to be
resumed at the end of the digression. The temporal dimension is non)e"istent
and clock time is abandoned for psychological time. The digressions allowed
.terne to tell events of the past or of the future in whatever order he pleased. The
story is told in the first person singular by the main character Tristram .handy
who remembers particular events of his past and present life. It starts with a
flashbac$! we meet Tristram in the first volume as an adult but his birth happens
in the third volume. <e may suppose that .terne was influenced by (ohn
Locke)s theory of the Association of $deas. Tristram himself defined Loc$es
3ssays as 8a history boo$9.of what passes in a mans own mind:. .terne made a
distinction between time of the cloc$ that is the chronological time and time of
the mind. Ergani6ing his plot the author goes bac$wards and forwards in time
thus disrupting the chronological order. 0e anticipated Bergsons theory of the
time 8la *ur+e:. =ergson thought that each individual lives moments and
e"periences that cannot be measured in fi"ed periods of time since the mind has
its own time different from the conventional one of the e"ternal world.