The 18th Century Novel: Defining and Redefining Realism

The Delta

Volume 3 | Issue 1 Article 6

2008

The 18th Century Novel: Defining and RedefiningRealismJim Kjelland '08Illinois Wesleyan University

This Article is brought to you for free and open access by The Ames Library, the Andrew W. Mellon Center for Curricular and FacultyDevelopment, the Office of the Provost and the Office of the President. It has been accepted for inclusion in Digital Commons @ IWU bythe faculty at Illinois Wesleyan University. For more information, please contact [email protected].©Copyright is owned by the author of this document.

Recommended CitationKjelland '08, Jim (2008) "The 18th Century Novel: Defining and Redefining Realism," The Delta: Vol. 3: Iss. 1, Article 6.Available at: http://digitalcommons.iwu.edu/delta/vol3/iss1/6

http://www.iwu.edu/

http://www.iwu.edu/

http://digitalcommons.iwu.edu/delta

http://digitalcommons.iwu.edu/delta/vol3

http://digitalcommons.iwu.edu/delta/vol3/iss1

http://digitalcommons.iwu.edu/delta/vol3/iss1/6

mailto:[email protected]

The 18th Century Novel: Defining and Redefining Realism

Jim Kjelland

Ian Watt defines reality, in contrast to the classical notion of the immutable ideal, as a matter of individual experience (9). Although this definition is certainly not exclusively Watt's-as it follows closely from the basic Enlightenment principle ofhuman empowerment-it does lead Watt to several unique conclusions about truth. Ifthe classical view equates reality with the ideal then reality comprises any number of immutable, or ideal, truths. These truths are not tangible but are instead divine and immutable "ideas in the sky" upon which the material world-what we consider to be our tangible "reality"-is modeled. Our "reality" is, then, an imperfect representation or shadow working towards the achievement of exogenously imposed ideals or truths. But if reality is a matter of individual experience as Watt claims, then there is no truth, or, more specifically, humanity is left to create its own conception of truth. This conclusion introduces the idea of subjectivity into our definition of reality, which adds further complication-reality becomes anything we conceive it to be. Reality, in other words, becomes the aggregate of individual truths instead of any sort of external point of light. Watt doesn't appear to extend his definition this far. While he does realize the importance of individual experience in defining reality, his view is limited to formally realistic elements that limit focus to very specific subjective representations of reality. So while Watt does abandon character types and simplified black and white notions of truth, he still endorses the portrayal of a very exclusive selection of subjective perspectives: he trades in black and white for individual shades of grey, which, taken separately, are no less limiting or unrealistic. Watt names this formal realism, which he suggests is the defining characteristic of the 18th century novel (9-35). In this paper, I will show that formal realism tells only a very small part

32

of the story ofthe 18th century novel. While; realism, as defined by fidelity to individual definable characteristic ofthe 18th century n authors such as Henry Fielding and CharloU bias thatformal realism imposes on a text, a to create a more critically objective realistic diverse and subjective reality.

One might apply Watt's formal reali Richardson. Had the 18th century novel co~ there would be little difficulty in applying ~

realism to the genre. Still, if Pamela was th novel, the genre in my estimation would faL realistically portraying the world and the pe realism, once again, lies in its formal realisr a three dimensional world with characters tI imagine to be real people. Richardson achi. large part by completely removing his authc text. In his place stands an "editor" who co into a bounded collection and is himself ratl text. This editor makes only sparse appeara beginning and once during the plot's progre merely an objective compiler ofthese letter foundation both in Truth and Nature" (Rich formal authorial trick leaves the reader witt Pamela's letters and hence, as is implicit in letters, to Pamela herself. As a result, readf Pamela-Pamela has let them into her worl Richardson emphasizes this formal ploy by physical objects in the novel which Pamela text. In Letter XI Pamela writes, "Well, m~

find my letter, and so I'll try to recollect it ~

misplaced letter (53). Pamela's letters rece but make an appearance in the text, as Pam·

33

1

Kjelland '08: The 18th Century Novel: Defining and Redefining Realism

Published by Digital Commons @ IWU, 2008

ury Novel: Defining and Redefining Realism

Jim Kjelland

lefmes reality, in contrast to the classical notion ideal, as a matter of individual experience (9). inition is certainly not exclusively Watt's-as it om the basic Enlightenment principle of human t does lead Watt to several unique conclusions ~ classical view equates reality with the ideal, rises any number of immutable, or ideal, truths. lot tangible but are instead divine and immutable ,upon which the material world-what we r tangible ''reality''-is modeled. Our "reality" is, t representation or shadow working towards the mgenously imposed ideals or truths. But if of individual experience as Watt claims, then

>r, more specifically, humanity is left to create its ftruth. This conclusion introduces the idea of lur definition of reality, which adds further Illity becomes anything we conceive it to be. vords, becomes the aggregate of individual truths t of external point of light. Watt doesn't appear lition this far. While he does realize the ividual experience in defining reality, his view is y realistic elements that limit focus to very ~ representations of reality. So while Watt does ~ types and simplified black and white notions of lrses the portrayal of a very exclusive selection of ;tives: he trades in black and white for individual a.ich, taken separately, are no less limiting or names this formal realism, which he suggests is Icteristic of the 18th century novel (9-35). In this 'that formal realism tells only a very small part

32

of the story of the 18th century novel. While I do believe that realism, as defined by fidelity to individual experience, is the most definable characteristic of the 18th century novel, I will show that authors such as Henry Fielding and Charlotte Lennox realized the bias thatformal realism imposes on a text, and that they attempted to create a more critically objective realistic view of humanity's diverse and subjective reality.

One might apply Watt's formal realism quite readily to Richardson. Had the 18th century novel comprised solely Pamela, there would be little difficulty in applying Watt's analysis of realism to the genre. Still, ifPamela was the only 18th century novel, the genre in my estimation would fall very short of realistically portraying the world and the people in it. Pamela's realism, once again, lies in its formal realism-its ability to create a three dimensional world with characters that the reader can imagine to be real people. Richardson achieves formal realism in large part by completely removing his authorial presence from the text. In his place stands an "editor" who compiles Pamela's letters into a bounded collection and is himself rather absent from the text. This editor makes only sparse appearances, once at the beginning and once during the plot's progression, claiming to be merely an objective compiler of these letters, "which have their foundation both in Truth and Nature" (Richardson 31). This formal authorial trick leaves the reader with direct access to Pamela's letters and hence, as is implicit in the content of those letters, to Pamela herself. As a result, readers feel like they know Pamela-Pamela has let them into her world, told them her secrets Richardson emphasizes this formal ploy by making the letters physical objects in the novel which Pamela refers to within the text. In Letter XI Pamela writes, "Well, my dear mother, I can't fmd my letter, and so I'll try to recollect it all," referring to a misplaced letter (53). Pamela's letters receive not only mention, but make an appearance in the text, as Pamela tells of Mr. B

33

2

The Delta, Vol. 3 [2008], Iss. 1, Art. 6


reaching for the letters hidden under her bodice (131). All of these formal elements contribute to a formal realism that convinces the reader that there is an editor, and that there are letters, which a captivating girl named Pamela happened to write.

The purpose of this formal realism, according to Richardson, is in part ''to inculcate Religion and Morality in so easy and agreeable a manner, as shall render them equally delightful" (preface). Additionally, Richardson wishes to "paint vice in its proper Colours ...and to set Virtue in its own amiable Light" (preface). Richardson, in other words, plans to instruct by dressing truth, like falsehood, in desire, which people find entertaining, so that readers will learn morality without rejecting it as education, which they despise (Spacks 1). The reader, therefore, learns the truth about morality and vice through Pamela, who acts as an ideal and entertaining, three-dimensional example. This is how formal realism conveys realities about truth, morality, and vice: through a single subjective interpretation. As I discussed above, in a subjective world that does not depend on universal truths, it is the aggregate of all subjective beliefs and perspectives that determines truth. Pamela is merely a single girl, and although the reader is led to trust her, she can still only offer very limited truths, which are grounded in the contexts of her unique life. From her we learn that morality consists primarily of chastity and that vice is embodied in social injustice and lust. The contexts of Pamela's life impose bias on truth and distort reality by limiting it.

Additionally, and more importantly, the presentation of Pamela's subjective perspective imposes Richardson's bias and beliefs on the text. By removing his authorial presence from the text, Richardson creates a world that appears realistic and probable. But, as we know, Richardson is actually very involved in the text (though his influence is hidden by formal tricks), and, as a result, what appears probable and realistic is in actuality very contrived; Richardson, through this authorial trick, is able to make

34

the unrealistic seem very probable. The basil for example, is unrealistic; waiting maids sUr men of standing such as Mr. B-, and Mr. B have thrown away his social position and his girl's virtue, which in all frankness (during t1 his to take and not Pamela's to withhold. W2 unrealistic events stating, ''the novel's realisr the kind of life it presents, but in the way it p is certainly true for Pamela, and there is a ce distortion involved in presenting "reality" in Richardson names his novel Pamela; or, Vir. while Pamela's "virtue" is rewarded, the reac; both the virtue and the reward are contrived 1 problem is that the formal realism makes it d to realize Richardson's manipulation ofthe t Richardson is able to indoctrinate readers wi good and bad using a constructed embodime virtue (in Pamela), which he reinforces as be contrived providence that rewards that ''virtu ending. In other words, Richardson's defini1 fulfilling, and Richardson is therefore able tc into seeing the world from his limited perspt:

One might argue that the contrived ''realistic for the fact that it represents virtue c restrictive social contexts of conventional so way, one might argue that Richardson is bra definition ofvirtue by rejecting the sociallir which reserve the right to chastity and virtue he is making Pamela and her virtue her own and unconventional perspective. Ifthis wen would be presenting a possible alternative vi less valid, which could be viewed as a less ro

35

3



letters hidden under her bodice (131). All of these :contribute to a fonnal realism that convinces the : is an editor, and that there are letters, which a named Pamela happened to write. )()se ofthis fonnal realism, according to 1 part ''to inculcate Religion and Morality in so ble a manner, as shall render them equally :ace). Additionally, Richardson wishes to "paint r Colours...and to set Virtue in its own amiable . Richardson, in other words, plans to instruct by :ke falsehood, in desire, which people find that readers will learn morality without rejecting it lich they despise (Spacks 1). The reader, therefore, lbout morality and vice through Pamela, who acts :ntertaining, three-dimensional example. This is ism conveys realities about truth, morality, and single subjective interpretation. As I discussed ~ctive world that does not depend on universal ggregate of all subjective beliefs and perspectives truth. Pamela is merely a single girl, and although to trust her, she can still only offer very limited : grounded in the contexts of her unique life. From t morality consists primarily of chastity and that I in social injustice and lust. The contexts of pose bias on truth and distort reality by limiting it. ally, and more importantly, the presentation of tive perspective imposes Richardson's bias and n. By removing his authorial presence from the creates a world that appears realistic and

IS we know, Richardson is actually very involved ~ his influence is hidden by formal tricks), and, as pears probable and realistic is in actuality very rdson, through this authorial trick, is able to make

34

the unrealistic seem very probable. The basic premise of Pamela, for example, is unrealistic; waiting maids simply did not marry men of standing such as Mr. B-, and Mr. B would not very likely have thrown away his social position and his lineage to protect a girl's virtue, which in all frankness (during that time period) was his to take and not Pamela's to withhold. Watt accounts for these unrealistic events stating, "the novel's realism does not reside in the kind oflife it presents, but in the way it presents it" (27). This is certainly true for Pamela, and there is a certain danger of distortion involved in presenting "reality" in such a way. Richardson names his novel Pamela; or, Virtue Rewarded, and while Pamela's "virtue" is rewarded, the reader must realize that both the virtue and the reward are contrived by Richardson. The problem is that the formal realism makes it difficult for the reader to realize Richardson's manipulation of the text. As a result, Richardson is able to indoctrinate readers with his definitions of good and bad using a constructed embodiment of his notion of virtue (in Pamela), which he reinforces as being "good" through a contrived providence that rewards that "virtue" with a happy ending. In other words, Richardson's definition ofvirtue is self fulfilling, and Richardson is therefore able to manipulate the readel into seeing the world from his limited perspective.

One might argue that the contrived "virtue" in Pamela is realistic for the fact that it represents virtue outside of the restrictive social contexts of conventional society. Said in another way, one might argue that Richardson is broadening the subjective definition ofvirtue by rejecting the social limitations of society, which reserve the right to chastity and virtue to the upper classes; he is making Pamela and her virtue her own property---eertainly and unconventional perspective. Ifthis were the case, Richardson would be presenting a possible alternative view ofvirtue that is no less valid, which could be viewed as a less restrictive definition

35

4



and more representative of the aggregate of subjective perspectives and, in that way, more representative of reality.

The problem with this argument is that it does not take into account the fact that Richardson does not overtly offer his definition of virtue as an alternative for readers to consciously contemplate. Using formal realism, Richardson makes Pamela's actions seem inevitable. Indeed, readers read in such an absorptive way that they hardly realize that Pamela's virtue is unconventional. In this way, Richardson prevents the reader from becoming conscious ofPamela's virtue as an authorial redefinition, and instead of partaking in a critical discourse per se with Richardson regarding the alternative possible perspectives surrounding definitions of virtue, the reader sees only the very limited and subjective perspective portrayed by Pamela. In such a case, Richardson's formal realism has the unrealistic effect of putting readers out oftouch with reality on the aggregate, offering them only his own limited, subjective view of the world. Both Fielding and Lennox attempt to expose and counteract this possible detriment of formal realism in their own novels.

In Fielding's novel, Joseph Andrews, Fielding abandons any attempt at formal realism and instead blatantly exposes his authorial presence. William Warner states, "Joseph Andrews was Fielding's first novel to attempt the narrative stance combining detachment and a good natured conversational alliance with the reader" (271). Fielding achieves this instructive dialogue with the reader by making his authorial ploys so obvious as to make the reader conscious of how such ploys may be used manipulatively by authors within a text. For example, the narrator's presence as an intermediary and his role as Fielding's authorial puppet is so plain that the reader is unable to view the plot that unfolds as anything but contrived. Throughout the text, this narrator uses a

broad spectrum ofdifferent types ofwriting and speech: the narrator's critical introduction, the

36

-

narrator-historian's account Adams' catechizing of Josel= interviews with Lady Boob)" Mrs. Slipslop (with its clima Joseph's two letters to Pame and so on. (Warner 270)

In using such a wide variety of different WI

as exaggeration and parody in an already a; able to show how authors manipulate a texexposes language and narrative structure ~

authors' manipulative purpose in portrayi"it to be seen. Relating this idea back to Pu making the reader conscious of the fact tha realistic style, Pamela is no less contrived 1

manipulated text (by the narrator and, in tu Joseph Andrews. He advises the reader to manipulations.

But the style ofwriting is not the OJ

manipulation that Fielding exposes. Fieldi to manipulate the reader's expectations. Ir Andrews the narrator states,

the authentic History with \11

public is an instance ofthe I [Pamela] is likely to do, anc Example which I have just I appear that it was by keepin of his Sister's Virtues befor Joseph Andrews was chiefl: Purity in the midst ofsuch! (Fielding 34)

The reader is led to expect Joseph to have example and to act accordingly. At first, l:

does indeed appear as a "witless imitator c

37

5



;entative of the aggregate of subjective perspectives ',more representative of reality. blem with this argument is that it does not take into :that Richardson does not overtly offer his tue as an alternative for readers to consciously 'sing formal realism, Richardson makes Pamela's ~vitable. Indeed, readers read in such an absorptive il'dly realize that Pamela's virtue is unconventional. hardson prevents the reader from becoming mela's virtue as an authorial redefinition, and ~ing in a critical discourse per se with Richardson ternative possible perspectives surrounding rtue, the reader sees only the very limited and lective portrayed by Pamela. In such a case, rmal realism has the unrealistic effect of putting mch with reality on the aggregate, offering them Ilited, subjective view of the world. Both Fielding :rnpt to expose and counteract this possible mal realism in their own novels. ng's novel, Joseph Andrews, Fielding abandons :>rmal realism and instead blatantly exposes his ceo William Warner states, "Joseph Andrews was lovel to attempt the narrative stance combining a good natured conversational alliance with the ~ielding achieves this instructive dialogue with the g his authorial ploys so obvious as to make the ) of how such ploys may be used manipulatively by text. For example, the narrator's presence as an

:l his role as Fielding's authorial puppet is so plain ; unable to view the plot that unfolds as anything 1lroughout the text, this narrator uses a road spectrum of different types of writing and Jeech: the narrator's critical introduction, the

36

narrator-historian's account of Joey's early life, Adams' catechizing of Joseph, Joseph's two interviews with Lady Booby and his encounter with Mrs. Slipslop (with its climactic Homeric similes), Joseph's two letters to Pamela, a "satire on love," and so on. (Warner 270)

In using such a wide variety of different writing styles, which wod as exaggeration and parody in an already absurd story, Fielding is able to show how authors manipulate a text with language-he exposes language and narrative structure as authorial tools used fOi authors' manipulative purpose in portraying the world as they wish it to be seen. Relating this idea back to Pamela, Fielding is making the reader conscious of the fact that despite a formally realistic style, Pamela is no less contrived than the blatantly manipulated text (by the narrator and, in turn, Fielding himself) of Joseph Andrews. He advises the reader to be wary of such manipulations.

But the style of writing is not the only form of authorial manipulation that Fielding exposes. Fielding also uses the narrator to manipulate the reader's expectations. In chapter one ofJoseph Andrews the narrator states,

the authentic History with which I now present the public is an instance of the great good that book [Pamela] is likely to do, and ofthe Prevalence of Example which I have just observed: since it will appear that it was by keeping the excellent Pattern of his Sister's Virtues before his Eyes, that Mr. Joseph Andrews was chiefly enabled to preserve his Purity in the midst of such great Temptation. (Fielding 34)

The reader is led to expect Joseph to have learned from Pamela's example and to act accordingly. At first, as Warner relates, Joseph does indeed appear as a "witless imitator of his sister's example"

37

6



1

(255)-He bravely rebuffs the sexual advances ofMrs. Booby, and in a letter to Pamela even attributes his success to her example. In the following chapter (XI), though, the narrator surprises the readers by relating information contrary to what he told them in the opening chapter. Chapter XI is titled, "OfSeveral New Matters Not Expected," which is exactly what it relates by contradicting reader expectations. The narrator opens,

It is an Observation sometimes made, to indicate our idea ofa simple Fellow, "That he is easily to be seen through": nor do I believe it a more improper Denotation of a simple Book. Instead of applying this to any particular Performance, we choose rather to remark the contrary in this History, where the Scene opens itselfby small degrees; and he is a sagacious Reader who can see two Chapters before him... For this reason, we have not hitherto hinted a Matter which now seems necessary to be explained. (63)

Fielding continues to relate the real reason that Joseph left town so soon after being put out and why he made his way to Lady Booby's country residence. Joseph's motivation in both of these actions, the narrator relates, is his beloved Fanny (63). From this information the reader may presume that Joseph's real reason for resisting Lady Booby is also his love for Fanny (Warren 255). In this passage, readers expectations ("it was by keeping the excellent Pattern of his Sister's Virtues before his Eyes, that Mr. Joseph Andrews was chiefly enabled to preserve his Purity") are contradicted by the very narrator that originally created them.

This contradiction, alongside the narrator's coy justification (see above block quote) for keeping Joseph's true motivation (Fanny) secret, seems to suggest that Fielding is once again in dialogue with his reader to make him or her conscious of the manipulations of authorship. Given Joseph's secret motivations,

38

the reader must allow for the possibility ofal in a character like Pamela. Fielding's previa makes this point in showing that a promiscu( Pamela is not necessarily any less valid. Ma should have named his novel Pamela; or, p" deception rewarded. Fielding points out, wi dialogue with the reader, the ability ofan aUl and characters in a narrative in whatever coli purpose. "Painting characters" as such allov Richardson to indoctrinate readers with subjl discussed earlier. Fielding, in contrast, blata author's hand in withholding information an expectations. Additionally, he exposes Jose] in attributing his actions to Pamela's examp]

By exposing all of these forces at WG

conscious of them, Fielding is commenting 4

exposing its pitfalls-he encourages readers critically and to be aware of potential author Had the narrator never revealed Joseph's tru maintained a consistent narrative, the reader question the text and think critically about it communication or dialogue with the readers authorial ploys) assures that readers do thinl text, and it prevents them from reading in at un-critical ways that open them to authorial happens in Pamela.

It seems from my discussion ofFieh Joseph Andrews, works as a textbook on cn be applied to novels of moral instruction sue serve the purpose ofmoral instruction in itS! to, though? Just as criticism continued duri function as moral reformation-as attested such as The Spectator and The Female Spa

39

7



lvely rebuffs the sexual advances of Mrs. Booby, and Ilffiela even attributes his success to her example. In :::hapter (XI), though, the narrator surprises the lting information contrary to what he told them in the er. Chapter XI is titled, "Of Several New Matters " which is exactly what it relates by contradicting tions. The narrator opens, It is an Observation sometimes made, to indicate our idea ofa simple Fellow, "That he is easily to be seen through": nor do I believe it a more improper Denotation of a simple Book. Instead of applying this to any particular Performance, we choose rather to remark the contrary in this History, where the Scene opens itself by small degrees; and he is a sagacious Reader who can see two Chapters before him... For this reason, we have not hitherto hinted a Matter which now seems necessary to be explained. (63) lUes to relate the real reason that Joseph left town so g put out and why he made his way to Lady ry residence. Joseph's motivation in both of these Tator relates, is his beloved Fanny (63). From this ~ reader may presume that Joseph's real reason for Booby is also his love for Fanny (Warren 255). In :aders expectations ("it was by keeping the excellent lister's Virtues before his Eyes, that Mr. Joseph :hiefly enabled to preserve his Purity") are r the very narrator that originally created them. ntradiction, alongside the narrator's coy justification ;k quote) for keeping Joseph's true motivation seems to suggest that Fielding is once again in

lis reader to make him or her conscious of the of authorship. Given Joseph's secret motivations,

38

the reader must allow for the possibility of alternative motivations in a character like Pamela. Fielding's previous work ofShamela makes this point in showing that a promiscuous interpretation of Pamela is not necessarily any less valid. Maybe Richardson should have named his novel Pamela; or, promiscuity and deception rewarded. Fielding points out, with his inter-textual dialogue with the reader, the ability of an author to paint actions and characters in a narrative in whatever color suits his or her purpose. "Painting characters" as such allows an author like Richardson to indoctrinate readers with subjective perspectives as 1 discussed earlier. Fielding, in contrast, blatantly exposes the author's hand in withholding information and creating false expectations. Additionally, he exposes Joseph's own contradiction in attributing his actions to Pamela's example.

By exposing all of these forces at work, making the reader conscious of them, Fielding is commenting on the act of reading, exposing its pitfalls-he encourages readers, therefore, to read critically and to be aware of potential authorial manipulations. Had the narrator never revealed Joseph's true motivations and maintained a consistent narrative, the reader would not be drawn tc question the text and think critically about it. Fielding's overt communication or dialogue with the readers (through blatant authorial ploys) assures that readers do think critically about the text, and it prevents them from reading in absorptive and therefore un-critical ways that open them to authorial manipulations such as happens in Pamela.

It seems from my discussion of Fielding that his novel, Joseph Andrews, works as a textbook on critical reading that can be applied to novels of moral instruction such as Pamela. Does it serve the purpose of moral instruction in itself as Fielding wishes il to, though? Just as criticism continued during this period to function as moral reformation-as attested by critical publications such as The Spectator and The Female Spectator----novelists at the

39

8



time, driven by the same literary market powers, also focused (at least superficially) on moral instruction (Gardiner 30). Fielding, then, must have had a moralistic aim in addition to his instruction on critical reading. Clive T. Probyn makes a good point when he states, ''whereas Richardson's preface implies that moral truth is exemplified in and may be learned from his novel, fielding implies that the reader is already familiar with moral truth and needs only to be reminded, not instructed" (17). This might explain Fielding's apparent lack of explicit moral instruction. Still, there might be something to be said for a text that can critically instruct and provide realistic characters on which to practice critical reading. Such a text would have a very powerful impact and would offer very efficient moral instruction-both critical instruction on reading and moral application on three dimensional characters that captivate readers and make lasting moral impressions.

Consider the captivating power of Pamela read with Fielding's critical instruction on meditative reading in mind. Combining formal realism with a conscious awareness of authorial manipulation would allow readers ofPamela to see Richardson's portrayal of virtue (in the form ofa waiting-maid) as an illuminating possibility of redefinition and social change instead of as a limited and subjective view of virtue.

This is, in essence, exactly what Lennox accomplishes in her Female Quixote. Lennox finds a balance between the formally realistic and uncritical narrative of Richardson's Pamela and Fielding's formally and overtly unrealistic narrative that works instead as a signal to readers to look critically at texts. Michael McKeon coins the term "free indirect discourse," which very well fits Lennox's writing style. Free indirect discourse may be understood as,

a method of refining access to character interiority in conjunction with an exteriority free (unlike epistolary form) of the naIve claim of historicity... free indirect discourse

40

combines the virtues of first- and thir allowing the narrator as it were to en1 within the mind of the character, but internal locale in order to reflect exte contents. (McKeon 261)

Lennox achieves this by working within a VI:

internal probability and external improbabili separates into two categories: internal and ec probability is defined as ''the correspondenc1

action or characterization and real experienc (McKeon 255). The Female Quixote certain designation. The basic concept of the noveltakes romance novels as histories of the real the part of heroine-is quite the opposite of nobody could be so naIve. The second catee probability, in contrast,

does not arise so much from 1

fictions to real events, as frot'" the language with the sentimc and actions with the characte: parts of the fable, with each c

In other words, internal probability only apI= accepted and disregarded the improbability • of a certain situation-it depends only on tit interactions within that situation. Disregard improbability of a girl being so incredibly n absurd beliefs, Arabella's actions based on t entirely rational. In romances, every man is and given that Arabella believes that roman· of reality, she is entirely justified in throwin by men. Her sentiments are, therefore, intel Arabella, as a result, appears as a three diml the reader can empathize with and relate to,

41

9



by the same literary market powers, also focused (at cially) on moral instruction (Gardiner 30). Fielding, .ave had a moralistic aim in addition to his instruction :ading. Clive T. Probyn makes a good point when he reas Richardson's preface implies that moral truth is in and may be learned from his novel, fielding implies er is already familiar with moral truth and needs only led, not instructed" (17). This might explain Fielding's (: of explicit moral instruction. Still, there might be I be said for a text that can critically instruct and stic characters on which to practice critical reading. vould have a very powerful impact and would offer t moral instruction-both critical instruction on moral application on three dimensional characters that ders and make lasting moral impressions. ider the captivating power ofPamela read with itical instruction on meditative reading in mind. armal realism with a conscious awareness of authorial I would allow readers ofPamela to see Richardson's /irtue (in the form of a waiting-maid) as an possibility of redefinition and social change instead of lIld subjective view ofvirtue. s, in essence, exactly what Lennox accomplishes in ?uixote. Lennox finds a balance between the formally mcritical narrative ofRichardson's Pamela and rmally and overtly unrealistic narrative that works ignal to readers to look critically at texts. Michael lS the term "free indirect discourse," which very well writing style. Free indirect discourse may be

~od of refining access to character interiority in Ilction with an exteriority free (unlike epistolary form) naive claim ofhistoricity...free indirect discourse

40

combines the virtues of first- and third-person narration by allowing the narrator as it were to enter and speak from within the mind of the character, but also to vacate that internal locale in order to reflect externally upon its contents. (McKeon 261)

Lennox achieves this by working within a very strict framework of internal probability and external improbability. Probability separates into two categories: internal and external. External probability is defined as '"the correspondence between fictional action or characterization and real experience as we know it" (McKeon 255). The Female Quixote certainly doesn't fit this designation. The basic concept of the novel-that of a girl who takes romance novels as histories ofthe real world and then plays the part of heroine-is quite the opposite of external probability; nobody could be so naive. The second category of internal probability, in contrast,

does not arise so much from the resemblance ofthe fictions to real events, as from the consistency of the language with the sentiments, ofthe sentiments and actions with the characters, and ofthe different parts of the fable, with each other. (256)

In other words, internal probability only applies after one has accepted and disregarded the improbability ofthe overall premise ofa certain situation-it depends only on the internal events and interactions within that situation. Disregarding the overall improbability of a girl being so incredibly na'ive and holding such absurd beliefs, Arabella's actions based on those given beliefs are entirely rational. In romances, every man is a potential ravisher, and given that Arabella believes that romances are representative ofreality, she is entirely justified in throwing fits when approachec by men. Her sentiments are, therefore, internally probable. Arabella, as a result, appears as a three dimensional character who the reader can empathize with and relate to, very much as one

41

10



would continue to empathize with a schizophrenic person who had simply lost touch with reality.

At the same time that Arabella's actions are internally probable, the entire situation is still very much externally improbable, which allows for a critical commentary on reading by Lennox while maintaining three dimensional, realistic characters. The external improbability, once again, arises from Arabella acting as a reader of romances within the text. Taking her romance novels to represent reality, she plays the role of a heroine in her life and as a result holds outrageous views about courtship and heroism. Arabella is, therefore, an absorptive, non-critical reader within Lennox's novel. Lennox uses the consequences of her internal, non-critical reading to inform the external reader of The Female Quixote of the negative consequences of reading noncritically. There are other internal "readers" within the text as well, which I will not cover in this paper, but they serve much the same critical purpose for Lennox. The critical reading of The Female Quixote works in much the same way as would a critical reading ofPamela using the critical lens developed by Fielding in Joseph Andrews (discussed earlier in the paper). Just as a critical reading ofPamela would reveal the redefinition of virtue of a waiting-maid as a social possibility, so to does a critical reading of The Female Quixote, using its own critical lens, reveal the social possibilities of an empowered woman (however improbable those possibilities appear given the current social context). "By daring," as Patricia Spacks states, "to imagine radical disagreement over indices of truth, the novelist has announced revolutionary possibilities for fiction" (23). By placing Arabella in a world of romance, in which she-as a three dimensional character-acts completely rational within the given context of her irrational romantic beliefs, Lennox reveals the possibility ofa world where men and their ambition do not have all the power. She reveals the possibility of a world where women have more control, as those in

42

romance fiction do because they control love combines the realism ofRichardson's charaeperspective of Fielding that allows readers to world from all of its perspectives.

In conclusion, then, while Richardsor Watt's conception of realism and so portrays subjective perspective in order to teach a spe: Fielding instead creates a discourse where th conscious of the act of reading. Fielding fori that they are being guided by a certain subjec which allows them take a step back and mal<objective assessment concerning the values f promoted. Lennox is ultimately most effecti literary styles. Whereas Richardson enCOUfai Fielding fails to create three dimensional chf to apply his critical analysis to a moral narra: contrast to both, writes in a mixed style calle indirect discourse," which allows her to crea. with the reader while also portraying realisti· situations that serve as applications for critic

43

11



lue to empathize with a schizophrenic person who had )uch with reality. ~ same time that Arabella's actions are internally •entire situation is still very much externally which allows for a critical commentary on reading by emaintaining three dimensional, realistic characters. improbability, once again, arises from Arabella acting : romances within the text. Taking her romance resent reality, she plays the role of a heroine in her life it holds outrageous views about courtship and thelia is, therefore, an absorptive, non-critical reader x's novel. Lennox uses the consequences of her critical reading to infonn the external reader of The }te of the negative consequences of reading non-ere are other internal "readers" within the text as will not cover in this paper, but they serve much the purpose for Lennox. The critical reading of The }te works in much the same way as would a critical mela using the critical lens developed by Fielding in ws (discussed earlier in the paper). Just as a critical mela would reveal the redefinition of virtue of a as a social possibility, so to does a critical reading of ~ixote, using its own critical lens, reveal the social f an empowered woman (however improbable those ppear given the current social context). "By daring," acks states, ''to imagine radical disagreement over h, the novelist has announced revolutionary lr fiction" (23). By placing Arabella in a world of rhich she-as a three dimensional character-acts tional within the given context of her irrational :fs, Lennox reveals the possibility ofa world where ambition do not have all the power. She reveals the a world where women have more control, as those in

42

romance fiction do because they control love. In this way Lennox combines the realism of Richardson's characters with the critical perspective of Fielding that allows readers to view the subjective world from all of its perspectives.

In conclusion, then, while Richardson's Pamela follows Watt's conception of realism and so portrays a very specific subjective perspective in order to teach a specific moral lesson, Fielding instead creates a discourse where the reader is made conscious of the act of reading. Fielding forces readers to realize that they are being guided by a certain subjective perspective, which allows them take a step back and make an informed and objective assessment concerning the values and beliefs being promoted. Lennox is ultimately most effective in combining both literary styles. Whereas Richardson encourages uncritical reading, Fielding fails to create three dimensional characters that allow him to apply his critical analysis to a moral narrative. Lennox, in contrast to both, writes in a mixed style called by McKeon "free indirect discourse," which allows her to create a critical dialogue with the reader while also portraying realistic characters and situations that serve as applications for critical reading.

12



Works Cited

Fielding, Henry. Joseph Andrews, Shamela. Oxford: Oxford World's Classics, 1999. Gardiner, Ellen. Regulating Readers: Gender and Literary Criticism in the Eighteenth Century Novel. London: Associated University Presses, 1999.

Lennox, Charlotte. The Female Quixote. Oxford: Oxford World's Classics, 1998. McKeon, Michael. "Prose Fiction: Great Britain." The Cambridge History ofLiterary Criticism (No. 4). Cambridge: Cambridge University Press, 2006. 238263.

Probyn, Clive. English Fiction ofthe Eighteenth Century. 17001789. London: Longman, 1987.

Richardson, Samuel. Pamela, or, Virtue Rewarded. London: Penguin, 2003.

Spacks, Patricia Meyer. Desire and Truth: Functions ofPlot in Eighteenth-Century English Novels. Chicago & London: University of Chicago Press, 1990.

Warner, William B. Licensing Entertainment. Berkeley & London: University of California Press, 1998.

Watt, Ian. The Rise ofthe Novel. London: Chatto & Windus, 1957.

44

Between Tales and Their T€ Jessica Block

The Host's motives and the roles he oc appointed leader of the pilgrimage to Canterbl tale-telling competition are up for debate, as r Chaucerian critics. Most agree that the Host I force throughout the Canterbury Tales and th; from the forefront of the Tales because he hal:: its core, as William Keen suggests. Followin which finalizes the General Prologue, the Hm occasionally and speaks in minute bursts. It i important, then, that we as readers and interpl the function of these bursts as well as the Hm duties. The Host does not take a backseat on drives the Tales along to further his own agel: interrupting the pilgrims to make his presencl

remind both pilgrims and readers ofthe pow~ group. In effect, the Host's bits of dialogue a disruptive, but are a cohesive agent between the Host is never more at the forefront ofthe General Prologue, he serves as a unifying fOi pursuing his own agenda: to make not a piou financially rewarding journey to Canterbury. the Host from the other pilgrims in several "" is allowing the Host to be "the first character to speak in his own voice" (Keen 6), when II telling contest to the pilgrims. Chaucer also : General Prologue portrait for what Keen cal: position" (5) and refrains from encouraging Host's portrait. Although Chaucer remarks 1 large man...with eyen stepe" (I. 753), the H the descriptions of several other pilgrims, is

45

13



Documents

The 18th Century Novel: Defining and Redefining Realism