The title forPamelacomes from Sidney’s Arcadia.

The History of Tom Jones, a Foundling

Tom Jones is a long book which is difficult to summarize. The title character, a handsome, brave, generous young man of uncertain parentage and hearty appetites, remains faithful to his beloved in spirit, if not in flesh. The combination of vice and virtue in a fully realized, three-dimensional hero was unusual in English literature of its day. Throughout the lengthy book, the author openly mocks the moral rigidity of fashionable writers and critics while simultaneously acknowledging the frailties of his characters and celebrating their good natures.

Some of the characters include:
Tom Jones
Sophia Western
Blifil
Squire Allworthy
Lady Bridget

The famous opening words, which have been known to appear on the GRE:

The introduction to the work, or bill of fare to the feast.
An author ought to consider himself, not as a gentleman who gives a private or eleemosynary treat, but rather as one who keeps a public ordinary, at which all persons are welcome for their money. In the former case, it is well known that the entertainer provides what fare he pleases; and though this should be very indifferent, and utterly disagreeable to the taste of his company, they must not find any fault; nay, on the contrary, good breeding forces them outwardly to approve and to commend whatever is set before them. Now the contrary of this happens to the master of an ordinary. Men who pay for what they eat will insist on gratifying their palates, however nice and whimsical these may prove; and if everything is not agreeable to their taste, will challenge a right to censure, to abuse, and to d--n their dinner without controul.

Samuel Richardson (1689 –1761)

Samuel Richardson was a major 18th century writer best known for his three epistolary novels: Pamela: Or, Virtue Rewarded (1740), Clarissa: Or the History of a Young Lady (1748) and Sir Charles Grandison (1753).

Richardson had been an established printer and publisher for most of his life when, at the age of 51, he wrote his first novel — and immediately became one of the most popular and admired writers of his time.

Pamela, or Virtue Rewarded

Pamela, or Virtue Rewarded is an epistolary novel by Samuel Richardson, first published in 1740. It tells in the first person the story of the virtuous lady's maid Pamela and the modest and agonized delicacy, yet determination, with which she rebuffs and reforms her aristocratic would-be seducer Mr B and is rewarded with marriage to him. Told through Pamela's probingly introspective letters and diary, Pamela is widely considered a seminal influence on the direction the novel form was to take towards psychological analysis and self-examination.

The heroine, Pamela Andrews, is a maid whose master makes unwanted advances towards her. She rejects him until he shows his sincerity by proposing a fair marriage to her. In the second part of the novel, Pamela attempts to accommodate herself to upper-class society and to build a successful relationship with her husband.

Clarissa

Clarissa is an exceptionally long novel; excepting novel sequences, it may well be the longest novel in the English language. The full volume of its third edition, the edition most extensively revised by Richardson, spans over one million words. The first edition alone contains nearly 969,000 words.

Clarissa Harlowe, the tragic heroine of Clarissa, is a beautiful and virtuous young lady whose family has become very wealthy only in recent years and is now eager to become part of the aristocracy by acquiring estates and titles through advantageous pairings. Clarissa is forced by relatives to marry a rich but heartless man against her will and, more importantly, against her own sense of virtue. Desperate to remain free, she allows a young gentleman of her acquaintance, Lovelace, to scare her into escaping with him. However, she refuses to marry him, longing — unusually for a girl in her time — to live by herself in peace. Lovelace, in the meantime, has been trying to arrange a fake marriage all along, and considers it a sport to add Clarissa to his long list of conquests. However, as he is more and more impressed by Clarissa, he finds it difficult to keep convincing himself that truly virtuous women do not exist. The continuous pressure he finds himself under, combined with his growing passion for Clarissa, forces him to extremes and eventually he rapes her. Clarissa manages to escape from him, but remains dangerously ill. When she dies, however, it is in the full consciousness of her own virtue, and trusting in a better life after death. Lovelace, tormented by what he has done but still unable to change, dies in a duel with Clarissa's cousin. Clarissa's relatives finally realise the misery they have caused, but discover that they are too late and Clarissa has already died.

Gothic Novel

You will almost certainly have a few questions on the Gothic novel on your exam. Some knowledge of the books below will prepare you for almost any question you are likely to see.

'Gothic' came to be applied to the literary genre precisely because the genre dealt with such emotional extremes and dark themes, and because it found its most natural settings in the buildings of this style: Castles, Mansions and Monasteries, often remote, crumbling and ruined. It was a fascination with this architecture and its related art, poetry (see Graveyard Poets) and even landscape gardening that inspired the first wave of gothic novelists: Horace Walpole, whose seminal The Castle of Otranto is often regarded as the first true gothic novel, was obsessed with fake medieval gothic architecture and built his own house Strawberry Hill in that form, sparking off a fashion for gothic revival.

A term to associate with the Gothic novel is gothic explique, which is the logical explanation at the end of the book of an event that at first seems supernatural. This becomes a major component of detective fiction (think Scooby Doo).

Horace Walpole’s The Castle of Otranto

Walpole's landmark work, published in December 1764, purports to be a translation (as the 1765 title page has it) "from the original Italian of Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto," and the events related in it are supposed to have occurred in the twelfth and thirteenth centuries. When the story opens, the villainous Manfred, prince of Otranto, in order to get an heir to his estate, has arranged a marriage between his only son, Conrad, and the beautiful Isabella. But on the night before the wedding, Conrad is mysteriously killed (he is crushed by a giant helmet). Lest he should be left without male descendants, Manfred determines to divorce his present wife, Hippolita, who is past childbearing, and marry Isabella himself.

Walpole writes as if by formula. The standard Gothic devices and motifs are all in place: moonlight, a speaking portrait, the slamming of doors, castle vaults, an underground passage, blasts of wind, rusty hinges, the curdling of blood, and above all, in practically every sentence, strong feelings of terror ("Words cannot paint the horror of the princess's situation..."). But Walpole was the inventor of the formula, and his influence — on Beckford, Radcliffe, and Lewis in this topic and then, along with them, on subsequent English fiction (and on literature and films more generally) — is incalculable.

Anne Radcliffe’s The Mysteries of Udolpho and The Italian

In Radcliffe's books, the hero is usually a gentleman of noble birth, likely as not in some sort of disgrace; the heroine, an orphan-heiress, high-strung and sensitive, and highly susceptible to music and poetry and to nature in its most romantic moods. A prominent role is given to the tyrant-villain. He is a man of fierce and morose passions obsessed by the love of power and riches. The villain can usually be counted on to confine the heroine in the haunted wing of a castle because she refuses to marry someone she hates. Whatever the details, Mrs. Radcliffe generally manages the plot and action so that the chief impression is a sense of the young heroine's incessant danger. On oft-repeated midnight prowls about the gloomy passageways of a rambling, ruined castle, the heroine in a quiver of excitement (largely self-induced) experiences a series of hair-raising adventures and narrow escapes. Her emotional tension is kept to the pitch by a succession of strange sights and sounds... and by an assorted array of sliding panels, trap doors, faded hangings, veiled portraits, bloodstained garments, and even dark and desperate characters.

Names to associate with Radcliffe:

The Italian: Vincentio di Vivaldi, Ellena Rosalba, the mysterious monk Schedoni
The Mysteries of Udolpho: Montoni, Emily

M. G. Lewis’s The Monk

The Gothic novel is traditionally divided into two main branches, “terror” and ”horror”, and it is in the latter that The Monk is to be placed. It is one of the most extreme examples of horror Gothic, dealing as it does with such shocking topics as rape, matricide, and incest. In The Monk we see Gothic being taken to its limits – both in terms of subject matter and public acceptability. The storm of controversy the novel created on its publication in 1796 indicates that Lewis had gone well beyond the more sedate story-lines of his avowed inspiration, Anne Radcliffe, the major representative of terror Gothic. Where Radcliffe always provides a natural explanation for ostensibly supernatural phenomena, Lewis revels in the use of the supernatural as a plot device.

The Monk concerns itself with the career of the Capuchin monk Ambrosio, an apparent orphan who has been brought up under the care of his monastic order to become a charismatic preacher, idolised by the population of Madrid. At the start of the narrative Ambrosio is a model of piety, but he proves to be a very brittle character who only too easily succumbs to the temptations of the devil. The devil's chosen instrument is the young monk Rosario, soon revealed to be a female in disguise (and then later a demon). As Matilda she seduces Ambrosio and becomes his accomplice in the career of sin that he proceeds to embark upon. Even before the seduction Ambrosio reveals himself to be motivated less by piety than pride and vanity, and in the first instance of the narrative's obsession with perverted sexuality, expresses erotic longings towards a painting of the Virgin Mary (which turns out to be a likeness of Matilda).

Jane Austen's Northanger Abbey

Northanger Abbey is a parody of the Gothic novel, and for that reason ETS loves to use it. The story centers around the character of Cahterine Morland, who is an avid devotee of the genre. Invited to spend some time at the Abbey home of the Tilney family, Catherine hopes for and fears all the cliches of the Gothic novel, only to appear foolish before her hosts.

Names to associate withNorthanger Abbey: Cahterine Morland, the Allens, Henry Tilney, and John Thorpe. Catherine Morland is also a fan of Anne Radclife'sThe Mysteries of Udolpho, and Austen novel uses Radcliffe's for parodic effect.

Дата добавления: 2015-10-31