The Delta

Volume 3 Issue 1 Article 6

Spring 2008

The 18th Century Novel: Defining and Redefining Realism

Jim Kjelland '08
Illinois Wesleyan University

Follow this and additional works at: https://digitalcommons.iwu.edu/delta

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

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

The 18th Century Novel:

Redefining
Defining
Realism
and of
th
ofthe 18 century novel. While;
realism, as defined centurytonindividual
by fidelity
Jim Kjellandhuman
classical
individualbias it equates
view
experience (9).realityauthors
with thesuch as Henry
definable Fielding andofthe 18
characteristic
th

ideal,
doesas
follows aclosely
lead matter
Watt from the
thisbasic
to several
Although Enlightenment
unique conclusions
definition principle
is certainly not exclusively CharloU
Ian Watt defines reality, in contrast to the classical notion
of of thatformal realism century
imposes
formal
novel
onthe
areali
text, a
there would
realism to be Richardson.
the little
to
genre. might
difficulty
create a
Still, apply
in applying
more critically objective realistic
Watt's-as
of diverse and subjective reality.
One Watt's
empowerment-it
Ifthe tangible we
immutable,modeled. Our "reality"
or ideal, truths. ideal is, Had 18
th
co~
~
onsiderThese then
to betruths reality
then,are
an not comprises
imperfect
tangible but anyarenumber
insteadof divine and immutable
"ideas in the sky" upon which the material if Pamela was th
world-what novel,
realism, the genre
once
realistically in
again, my
lies
portraying in its formal
the faL
realisr
world and the
our "reality"-is any
external
light.
truths.
individual
grey, reality.
individual
individual
sort
exogenously
shadow
truth.
areality,
appear
very
Watt
point This
exclusive
which,
the experience
which
18 So while
experience
truths
working
taken imposed
conclusion
adds
selection
as a
Watt
separately, three
does
inintroduces
towards
further
Watt defining
ideals
claims,
are thedimensional
reality,
then
no less world
ideahis view is
the limiting with characters pe
ruth, he reality
subjectivestill
bjectivity to
unrealistic.endorses
is
perspectives:
into our
Watt the
ainstead
extend matter
his portrayal
becomes
definition
definition
names
he trades anything
abandon
this formal
in black we
achievement
representation
this and conceive
character
far.realism,
While
thereor
he
white
which it
he to
fortypes
is no limited
does
truth, be.
and
realize
individual
suggests simplified
or,tothe
formally
more black and
realistic
is specifically, white notions
elements
humanity that limit
is left focus to
to create its very
Reality,
shades in other
the defining words, becomes
characteristic
importance of the aggregateown conception or subjective
specific But if representations tI
of imagine completely
to editor
be real makes
people.only
removing sparse
his
Richardsonappeara
achi.
into
text.a bounded
In his placecollection
stands anand"editor"
is himselfwhoratl
large part by
beginning and once during the plot's progre authc
of text. of merely an objective compiler ofthese co
letter
of foundation both in Truth and Nature" (Rich
complication-reality This
of
of of of doesn't

of formal authorial try trick

to arecollect
result,
leavesreadf
itthe reader witt
misplaced
find letter
letters,
my to letters
Pamela
has
letter, and and
let
herself.
them
so Pamela's
hence, asher
into is worl
implicit in
of Richardson emphasizes this formal ploy by As
physical objectsof in the novel whichPamela-Pamela
Pamela
of text. In Letter XIofPamela writes, "Well,

of or m~
I'll ~
of th
century novel (9-35). In this (53). Pamela's letters rece
paper, I will show that formal realism tells only a very small part but make an appearance in the text, as Pam·

32 33

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

the story
ury Novel: Defining
Redefining
and Realism of of 18th century believe
novel.definedthe
individual
fidelity
that
the
While
most experience,
I do
realism,
definable characteristic as by to is
Jim Kjelland contrast
the classical of th
18 century Henry novel, Fielding
I will show andthat
Charlotte Len
lefmes reality, in to which
acertainly
Watt
the
matter
several
individual
immutable,
immutable
humanmaterial
notion
exclusively
unique authors
it world-what
experience
or
conclusions
ideal, truths.
(9). such as bias
umber
tideal,
but , are
ical view
ghtenment instead
as equates divine
principle inition
reality with the ideal,
of thatformal realism imposes humanity's on a text, and that they attempted
is not create a more
diversecritically
and
Watt's-as objective
subjective realistic
to view of century novel c
om of reality.
does lead to One might apply Watt's formal realism quite readily to
th
~ Richardson. Had the 18 Pamela,
rises any of there would the
be
applying
genre.
little difficulty
Still,
Watt's analysis
in of
th
lot realism and to if Pamela was the only 18 century estimatio
upon we novel, realistically
the genre portraying
in my the world and the people of
r tangible ''reality''-is modeled. Our "reality" is, in it. Pamela's
t representation
createleftits
Watt
or shadow idealsworking
claims, or truths.towards
then But ifthe realism, Truth
his
himself real
place
completely
once
formal
createand
objective
these
again,
ratherpeople.
stands
Nature"
letters,
removing
ability
compiler
lies an
absent
in Richardson
(Richardson
"editor"
"which
its
from
his authorial
have
the who achieves
31).
compiles
This
realism-its
their formal
presence fromrealism
Pamela's the letters
to
ces alarge
the
mgenouslyboundedmerely
ideaapart
threecollection
imposed dimensional and world text.
withThis
foundation
characters
editor both
makes
that
text.
theonly
reader
sparse
canappearances, once at the
of imagine as beginning and once during the to be
plot's progression, claiming in
>r, more is to by
of In
external
lur definition ofpoint
light. defining
conceive
reality,
individual
Watt doesn'treality,
whichrealize
truths
adds his
the
appear view
further into is
dual
Illity experience
egate we it to be.
vords, becomes of to be
of of an of
far. While he does in
in is formal authorial making
Pamela
the
Letter
I'll
within
trick
those
try
the the
implicit
dearnovel
all,"
to
content
leaves
the letters
herself.
which
mother,
referring
recollect
writes, As
Pamela
theI"Well, a a result,
reader
to
can't with refers
readers
direct feel to
access like they know
y realisticlesselements
very
black letter,
simplified
white
limiting
realism,
while
a very for letters,
that
Watt text.
and
reality.
exclusive
which
or
individual
black
limit
does and
he
focus physical
selection
suggests
white
to notionsobjects
misplaced letter Pamela's letters
Pamela-Pamela and hence,has asletisthem into in
her world, of
told them her secrets
~ of So to
Richardson emphasizes this formal ploy
~ and of
lrses of of by
;tives: he in and in to
a.ich, no In XI my
names formal is fmd my so it
Icteristic of th
18 century novel (9-35). In this (53).
the realism tells only a very small part Pamela's Pamela
lettersthe text,
tells
receive not only mention,
'that formal but make an appearance in as of Mr. B­

32 33

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

reachingthese
forthis
theformal
letters realism,
hidden under her bodice
according to (131). All of basil
realism that convinces
Richardson, the ''to inculcate Religion and Morality in so
is in part sUr
ere easy
are letters, which a a manner, as shall render them equally
and agreeable of B-, Mr.
d to delightful"
write. (preface). Additionally, Richardson wishes to "paint
vice in its of andThe
to reader,
set Virtue therefore,
in its own amiable girl's in t1
Light"morality
learns the truth about (preface). andRichardson,
vice throughin other words, plans to instruct by W2
dressing truth, like falsehood, in desire, which people find
entertaining, so that readers will learn morality without rejecting it of
as education, which ...
proper Colours they despise (Spacks Pamela, and there a ce
is
distortion involved
Richardson names his in novel
presenting "reality" in
Pamela; or, Vir.
while Pamela's "virtue" is rewarded, the reac;
both 1).the virtue actuality
life
standing
Band
all
and very
ithidden
her presents,
the unique
frankness
chastitysuch
actually
all byand
reward as but
life.
(during
formal
very
subjective Mr.
are in
that the
From way
tricks),
involved
beliefs
contrived itperspectives
and1and,p as
Pamela's
the text life
contrived;
(though
Pamela's for
his
his example,
her
have
vice
virtue,
to
impose we learn
thrown
is
Richardson,
men unrealistic
influence
subjective a away
embodied
take
which
biasand
onis result,
through
events
perspective what
that
unrealistic;
that
truthmorality
his
notinPamela's
and this appears
determines
waiting
consists
social
social injustice
to
distortposition
authorial
stating,
imposes probable
truth.
maids
withhold.
reality
Richardson's
problem primarily
andPamela,
and
isby
trick,
is certainly
''the novel's and
Pamela
his
lust.
is
that who
The
limiting
able
true
realisr
bias
the realistic
for
and isacts
merely
contexts
toit.
formalmake is a single
realism makesgirl,
it d and although
as an
beliefs ideal
on theand
Additionally, entertaining,
the
text. and
kind
By removing the
his reader
three-dimensional
more importantly, isrealize
tothe
authorial led to Richardson's
trustfrom
example.
presentation
presence her,Thissheismanipulation
the can still only ofthe offer very limited t
how
text, formal realism
Richardson createsconveys truths,
a worldrealities
that whichrealistic
about
appears are grounded
truth, and inand
morality, the contexts isbe
Richardsona conventional
lesstherefore
able to
virtue byindoctrinate
able
rejecting thereaders wi
sociallir
34
vice: through
probable. But, asa wesingle subjective
know, interpretation.
Richardson intogood seeing
less As
way, Ifor
contrived
realistic
and discussed
thefulfilling,
valid, world
one
One
bad themight
which from
might
providence
using fact his
argue
argue
could
a that
and limited
itbethat
that
that
constructed
Richardson which
Richardson
the
viewed reserve
contrived
rewards
represents that
virtue
embodime c brathe right to chastity and virtue
is
''virtu
above, in a subjective world that does not depend virtue on Pamela),
ending.
(in universal
definition
restrictive In other
social words,
which
contexts Richardson's
he reinforces he is making Pamela and her virtue her as own
truths, it is the aggregate of and unconventional perspective. Ifthis wen
would be presenting a possible alternative defini1
is tc
of perspt:
of ''­
of
of so
of
of

is
in is vi
in as ro

35

Published by Digital Commons @ IWU, 2008 3

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

letters hidden
these under her bodice (131). All of of Pamela,
nvinces
accordingtheto for example, and isto
it(27). withhold.
unrealistic;
standing Mr. This
B would
presents,
realism
such asbut
doesMr.Watt
waiting
notnotthe
in accounts
very
maids
waylikely
reside for these
initsimply did not marry
presents
which a true for
certainly have
the kind thrown away his
unrealistic socialstating,
events
men position
of "the and his lineage to B-, protect a
girl's virtue, which in all frankness (during that time period) was
)()se of his to take and not
1 part ''to inculcate
and to setReligion
Virtueand Morality
in its own in so Pamela's
ble novel's
paint oflife it"
... The reader, therefore,
amiable is Pamela, and there is a certain danger of
ple.morality
find and vice
Richardson, through
in other words,Pamela,
planswhoto instruct
distortion by involved in presenting "reality" in such a way.
:ke rejecting it
hout Richardson names his novel Pamela; or, Virtue Rewarded, and "
while Pamela's a result,
virtuethenotion
his istext. both the virtue an
1).
virtue
fulfilling,
good and Richardson
(inand
Pamela),
Richardson chastity
her
hidden
bad merely
all
the
using actually
unique
is
whichis by
aaable
subjective
contextsand
single
he to
therefore that
formal
very
life. involved
From
girl,tricks),
beliefsandand
indoctrinate
reinforces
constructed able and,
toasalthough as
perspectives
readers
being "good"
manipulate
embodiment with his definitions
the through
readel a by Richardson. The
eorld
vengbias
now,
uence that
his does
perspective
on I tinmorality
authorial
Richardson
truth social
not intoinjustice
depend
presence
imposes
and on
pears
from
consists universal
to reality
trust and
probable
Richardson's
distort
contrived
seeing the
truth.
her,
theby lust.
primarily
sheand
Pamela
bias The
can
limiting
providence
world and
from contexts
realistic
acts
still
it.
that
hisonly is offer
in actuality
rewards
limited very very iswith
limited
thatproblem
"virtue"
perspective. that athe happy
formal realism makes it difficult for the reader
,:ntertaining,
eld thatmore
and appears three-dimensional
importantly, :rdson,
realistic ending.
and
grounded
the example.
through
presentation
One In other
might thisThis
words,
argue that isRichardson's
authorial the trick, is able
contrived to make
todefinition
realize
"virtue" in Pamela is manipulation of
Richardson's As
ism conveys realities about truth, morality, and
realistic for the fact that it represents virtue of
single subjective interpretation. As I discussed of of
34
~ctive
of
is of self
the
conventional society. Said in another
in restrictiveofsocial contexts way, one
of
of outside of
of rejecting
virtue
making society,
that the
virtue
Pamela nosocial
iswere
and her limitations
the case,
virtueRichardson
her own pro
of less
which reserve
valid, thecould
which rightwould
to viewed
chastity
might
be argue
be and
as virtue
that
presenting and tounconventional
Richardson
a less the upper
restrictive
a possible classes;
isalternative
broadening
definition perspective.
the subjective
view
he definition of by of
n.
is
IS is Ifthis
~ is of

35

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

reality.
and more representative
subjective
the
virtue asaggregate
anperspectives
of of narrator-historian's
different
portrayi"­
alreadyaccount
ay,The
more representative
problem with this argument is that it does not take ofinto exposes as language
able exaggeration
to show
authors'
using it toand
ahow and
beMrs.
seen.parody
narrative
authors
manipulative
such wide Relating
Slipslop
interviews
purpose
variety this
Adams'
structure
manipulate
(with aidea
its
with back to
catechizing
clima
Lady of Josel=
nt the fact that Richardson does not overtly offer his Joseph's two letters to Pame Boob)"
tion and so on. (Warner 270)
of alternative for readerspartaking
toaPamela's
consciously
critical discourse
virtue as an authorial redefinition, and
contemplate. Using formal realism, Richardson
instead makes Pamela's
actions seem inevitable. Indeed, readers read in such an absorptive In of WI
way that they hardly realize that Pamela's virtue is unconventional. in an a;
In this way, Richardson prevents the reader from becoming tex­
conscious of ~
of in per se with Richardson
touch
theexpose
world.
putting and
virtue,
with
formal counteract
the
reality
Both reader
on
realism the
Fielding thisown
sees possible
only
aggregate,
in their the very limited
offering
novels. them and in
regarding the alternative
readers out and Lennox possible perspectives
attempt only his
detriment subjective
surrounding In Fielding's
own limited,perspective
subjective portrayed
view by Pamela. In such a case,
novel, Pu
definitions of Richardson's formal realismmaking has the the
unrealistic
noreader
lessfact
the effect
contrived
conscious
tha of
realistic style, Pamela is 1
of manipulated text (by the narrator and, in tu
of Joseph Andrews. He advises not
thethe
writing reader to
of manipulatethat
manipulation the Fielding
reader's expectations.
exposes. Fieldi
manipulations. Ir
to But the style of is OJ
of
Joseph Andrews, Fielding writingabandons
howand
different
suchtypes
ploys may to be used manipulatively by
any attempt at formal
speech:
realism
the narrator's
and insteadcritical
blatantly
authors introduction,
within exposes
a text. his
the example, theAndrews
For narrator'sthepresence
narratoras the an
states,
I
authorial presence. William Warner states, "Josephand
intermediary Andrews
his rolewas
aspublic
Fielding's
is an authorial
instance puppet theis authentic
so plain History with \11
Fielding's first novel to attempt the narrative
that thestance
readercombining
is unable to view the plot that unfolds as anything of
36
detachment and a good natured conversational alliance
but contrived. with the the text, this narrator uses a[Pamela] is likely to do, anc
Throughout
reader" (271). Fielding achieves this instructive dialogue broadwith the
spectrum Example which I have just I
reader by making his authorial ploys so obvious as to make the appearexpectthat it Joseph
such! was byto keepin
have
reader conscious of example
(Fielding
his Sister's and
34)to
Virtues of act accordingly. At first,
befor
Joseph
The reader Andrews was chiefl:
is led
Purity in the midst of

to
of of l:
does indeed appear as a "witless imitator c

37

Published by Digital Commons @ IWU, 2008 5

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

;entative does
of the
not
that reality.
not
subjective
aggregate
take overtly
into of offer
perspectives of life,
ntative of of two
blem is it show love,"
different
portraying
his
authorial
how
already
encounter
parody
authors
writing
absurd
tools
Booby
the with
world
manipulate
used
styles,
story,
andaswhich
Fielding
theya text
wodwith
does
authors'
able manipulative
exaggeration seen. exposes
Relating his
on.
purpose
language
this(Warner
using
idea and Mrs.
270)
such
back Slipslop
narrative
atowide variety (with its climactic Homeric similes),
structure
as an alternative for readers tounconventional.
becomingredefinition,
authorial
consciously absorptive
Joseph's two letters to Pamela, a "satire on
ardson amela's
realism,
'sing formal virtue
Richardson
prevents
il'dly
critical
readers thatmakes
the reader
realize
discourse Pamela's
Pamela's virtue and so
~vitable. Indeed, read in such an In of
is as and in an is
from to language-he
as an and as fOi
~ing in per se with Richardson the
novels.
their
only
counteract
thePamela.
aggregate,
unrealistic
the
a the
very
world.
this
offering
limited
effect
possible
Bothof
themputting
Fielding in wish
ternative
lxpose
jective
realism thepossible
reader perspectives
portrayed
reality
realism ng's surrounding it to be Pamela, Fieldingturn, isnoFielding
lessfact
the himse
contrived
that d
rtue, sees and making the reader conscious ofrealistic manipulated text (by the narrator and,
style, Pamela
lective by In such case, is
has in of
mch with on Joseph Andrews. He advises warywriting
the
such
not
reader
authorial
thechapter
only
to be one of
Ilited, view of manipulatemanipulations.
the reader's
manipulation expectations.
that Fielding exposes. Fielding also uses the narrator
:rnpt to and But the style of is form of
mal in own
novel, Joseph Andrews, Fielding this
attempt
authorial
natured narrator
Fielding's
writing
abandons
anything
Joey's
instead
an the narrative
conversational
different
plain
athe
make
Joseph,plot
narrator's
authorial
obvious
early
blatantly
the
types used
thatpuppet
Joseph's manipulatively
stance
alliance
unfolds
presence
exposes
to combining
with the
his In of Joseph
t.ctrum
atechizing
:>rmal
Warner
eslism Fornarrator's
this
erviews
the )instructive
states,
1lroughout withtheand
"Joseph
Lady dialogue
critical Andrews a was
with the the
introduction, Andrews the narrator was
and
will instance
keeping
such
the
ofthe
the
states,
midst
great
great
the
Prevalence
excellent
good thatPattern
book
ceo William Purity
Joseph
his
appear likely
Andrews
Sister's
that
Example Virtues to was
which chiefly
before
I have his
justenabled
Eyes, thatto preserve
observed: the authentic History with which I now present the
since
to public is an of
good [Pamela] is do, of
~ielding it
his ploys so as to it by
of how such ploys may be by of Mr.
example, as his
:l his as is so in of aTemptation.
his
"witless
toPamela's
sister's
expectimitator
Joseph
example" to have le
unable to view as indeed appearand to act accordingly. At first, as 34)
(Fielding Warner
reader relates, Joseph
text, uses The is led from
road of of and example
Jeech: does as of

36 37

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

(255)-He bravelyFor akeeping the

relating
this
simple
his
these
rebuffs reason,
asmall
applying
have
onceSister's
Mrs. Fellow,
the
Several not excellent
information
degrees;
Booby,
choose
again
simple
New Virtues
sexual "That
hithertoand
inBook.
Matters andcontrary
before
advances
rather he
hinted
Instead is ato
isheaof
easily
his what
Eyes,
to he Mr.
that toldJoseph
them in thethe reader must allow for the possibility of al
tis
or
ce. toPamela
do
ates,
to
with any toparticular
Iishis
believe
Expected,"
Joseph's
his it to
iswhich
Matter Performance,
aattributes
more
motivation
beloved
even
remark
readeran improper
iswhich
exactly
sagacious
Fanny
the in
contrary
Observation
make him what
both
(63).
his it relates
inReader
success
From
this
sometimes
or
opening
Andrews
now seems towho
this
her
History, by
made,
chapter.
was can
necessary contradicting
tosee
example.
where
Chapter
chiefly two
the
enabled
be XIChapters
In
toindicate istotitled,
explained.
should a before
preserve
in have his Purity")
character are
like Pamela. Fielding's previa
der expectations.
wing
may presume
chapter (63)
our(XI),
Scene that
opens
idea The narrator
him
Joseph's
though, thecontradicted
real opens,
narrator forby the the
reason surprises very narrator that makes originally created
this point them. that a promiscu(
in showing
sielding
also his continues
love for to relate(Warren
Fanny the real 255).
by reason that Joseph leftalongside
ThisIncontradiction, town Pamela
so the narrator's coy justification
is not necessarily any less valid. Ma
oon after being
pectations put out and why
("it was (seeheabove
madeblock
his way to Lady
quote) for"Of
keeping Joseph's true motivation named his novel Pamela; or, p"
(Fanny) secret, seems to suggest that Fielding deception rewarded. Fielding theseancommenting
points
forces
them,
out,atwi
Fie
and discussed
characters
in
conscioushand
purpose.inin
attributinga
earlier.narrative
his
exposing
withholding
dialogue
"Painting within
actions
Fielding, whatever
to
all Pamela's
information
the
characters"reader,
in contrast,anthe
as such ability
blataallov of aUl
It Richardson
expectations. to indoctrinate
Additionally, he exposesreaders with coli
of be
subjl
of of
we author's
Jose]
itselfby examp]
By of WG
... we of is 4

exposing potential
awareits pitfalls-he
prevents encourages
that
themauthor
dialogue
open reading
from them
readers
withtothe
authorial
readers
communication critically
un-critical Had the narrator and
never to inploys)
authorial
revealed
happens be
Joseph's
assures of readers do thinl
tru that
maintained a consistenttext, narrative,
and the reader
question the text and think critically about
Booby's of it
or

it in at
by ways
of Pamela.
It seems from my discussion ofFieh
Joseph Andrews, works as amoral
textbook
moralinstruction
Spectator instructi
and onThe
cn
att
be applied
serve
to though?
to, the
novels
purpose
Justsuch as
as criticism of
continued duri sue
function as moral of in itS!
39
is the authorship. Given Joseph's secret motivations,
manipulations her conscious of reformation-as 1

of The Spa

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

lvely rebuffsexactly
titled,
relates
Several
Mrs.
the what
bysexual
Booby,
Newadvances
Matters
and of the reader must allow for the possibility of
Ilffiela
In in of Shamela
:::hapter
the makes thisshowing
not
point
necessarily
in
that a promiscuous
any less valid.
interpretation
Maybe Richardson of
Pamela should have
is named his novel
er. is "Of Pamela; or, promiscuity and
is it For
easily this reason,
Fellow,we
contradicting
applying
to abe
simple simple Book.haveInstead
"That
deception not
he hitherto hinted a
rewarded. Fielding points out, to
an author with his inter-textual
paint
totions.
ugh": Thedo
nor narrator
any particular
an opens,
Performance,
IObservation
believe it aMatter
more werelate
choose
improper
which
sometimes
to now
made,rather
seems necessary to
to indicate be explained.
dialogue with the reader, the ability of actions
on It is the
mark ourcontrary (63)
idea in this History, where the attributing hisand actions
characters in a narrative in whatever color suits his or her
e opens itselfofa by small degrees; and he isis a purpose. "Painting characters" as such allows an author like
cious Reader who can see two Chapters before Richardson to indoctrinate readers with subjective perspectives as 1
of of 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 these forces
reading,
example.
potential at work,
encourages
them, authorial
Fieldingmaking
to Pamela's
readers, the reader
manipulations.
therefore,
is commenting ontotheread
act
questionexposing its think critically about
the text and conscious
Had
Byit.the narrator
critically
Fielding's
exposing allnever
and revealed
overt to be awareJoseph'sof true motivations and
...
communication or dialogue with maintained a consistent narrative,of the reader would not be drawn of
pitfalls-he
of
lUes hisreal
these
the beloved
reasonFanny
both (63). From
that Joseph this so
left town
g putfor
ason out and why he made his way to Lady tc
ry
255). In in of prevents them from reading in absorptive and therefore
e excellent is un-critical ways that open them to authorial the readers (through blatant
manipulations such as
~
oseph happens in
authorial ploys) assures that readers do think critically about the
text, and it

Pamela.
It seems from my Fielding
discussion
that of
his novel,
the that originally created them.
r the very narrator Joseph Andrews, works as amoral textbook
instruction
on critical
suchreading
as that can
ntradiction, alongside the narrator's
applied to novelscoy justification be of Pamela. Does it moral
;k quote) for keeping Joseph's true motivation serve the purpose
to, though? Just asofcriticism continued during thissuchperiod
as ThetoSpectator
il and Th
seems to suggest that Fielding is once again in function as moral
lis reader to make him or her conscious of reformation-as
of authorship. Given
alternative motivations
Joseph's secret motivations,
k
38 39

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

time, said already

driven
learned
aProbyn
textby
explicit
addition hisandfamiliar
the
novel,
may
makes
moral
to same
his with moral
afielding
literary
good
instruction.
instruction truth
implies
market
point when
Still, and
powers,
there needs
he might only
alsobefocused (at of and
might
eader
ates, explain
something
ing. ''whereas
Clive least
to superficially)
Fielding's
Richardson's on moral
preface implies thatinstruction
moral truth (Gardiner 30). Fielding, it to en1
then, must have had a moralistic aim in of but
T. in
is
in be from VI:

is
to be and ec
of is 1

be for that can critically instruct and

three dimensional characters that action or characterization and real experienc
de realistic characters on captivate
which to readers
practiceand critical
makereading.
lasting moral impressions. (McKeon 255). The Female Quixote certainn
a text would have a very powerful impactthe
Consider andcaptivating
would offerpower thetakes
partromance
designation. The novels
basic concept ofnobody novel­cou
fficient moral instruction-both critical instruction on as of real
g and moral application on of heroine-is
so second catee
of Pamela read with mind. meditativeprobability,
authorial reading in contrast,
Fielding's
Combining
critical instruction
manipulation formal
wouldrealismallow with a conscious awareness
on readers in does not arise so much from 1
of fictions to the
incredibly
creal
fable, awith
girl
events,
tit being
n depends
as frot'"
a certain
of Pamela to see Richardson'sIn
virtue. other
waiting-maid)
redefinition
virtue
essence, accepted
(in parts
interactions
absurd
words,
the and
exactly actions
the
beliefs,
and within
internal
associal
what with
language
disregarded the
with
Arabella's
that
probability
change
Lennox the
situation.
theactions
instead
accomplishes Disregard
improbability • sentimc
herportrayal
as a limited and subjective
illuminating of view
possibility form ofa
This an improbability and characte:
of of of each
of only apI=
is, in in
Female Quixote. Lennox findsRichardson's a balance between
uncritical narrative the formally of situation-it only on
realistic and of Pamela and
Fielding's
wereexteriority
the
historicity
order
thir
look
formally
refining
character,
readers
first-defined
to
critically
indirect
reflect
free
access
andas(unlike
overtly
exte
at
''the
discourse
totexts.
character
correspondenc
epistolary
unrealistic
Michael
interiority
form)
narrative that works of so
dKeon
nal
he coins
locale
ngexternal
the
mind the term
narrator "freeaasindirect
as instead
improbabili
contents. (McKeon signaldiscourse,"
a 261)
method to which
to very well based on t
Lennox's
egories: writing style.
Lennoxinternal
achieves Free
this by indirect
working discourse
within a entirely entirely
rational.
relate
a three
justified
In romances, every man is
40 given
bymay
Arabella,
the reader
reality, men.
canthat
she as aArabella
Her sentiments
result,
empathize believes
appears
with are,
that
and therefore, roman·
be
as, of is in throwin
of in intel
an as diml
of of ...free and to,

41

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

combines the virtues

by the same literary market powers, also focused (at of by

cially) on moral instruction (Gardiner 30). Fielding,
instruction
.ave
nt when he the of
al truth is order
ding implies
by
er familiar with moral truth and needs only
led,there might be
ll, Fielding's
(: of
I be said for a text that can critically instruct and or as we know
stic characters on which to practice
critical critical reading.
instruction The Female Quixote certainly doesn't the fit a this
girlconcept
basic
vould characters
sional have a verythat powerful impact and would offer
takes romance novelsdesignation.
as The of novel-that of who
t moral instruction-both
essions. on theconsistency
opposite
those
thefrom
different
from external
internal
issecond
thegiven
real
athe
fable, sentiments
sentiments,
world
depends
probability;
potentialbeliefs
characters,
quite
with histories
actions
category
resemblance
athe
girl being
overall andare
only
then
ravisher,
each and
other.
based
so
premiseofthe
on
plays
the internal
(256)
incredibly events
na'ive and and such
holding
a certain probability,
entirely
thefictions
parts
nobody
and in
languagerational.
contrast,
the
to and
could
given part
real actions
thatbe Inso
Inromances,
events, naive.
Arabella every
interactions
otherbelieves
words, of heroine-is
within
that beliefs,
internal
absurd that situation.
probability the after oneofhas
Disregarding
only applies the overall
does not arise so and
accepted improbability
disregarded the improbabilityThe of
of Pamela read with authorial
itical instruction on meditative reading in mind. much ofthe
armal realism with a conscious awareness of as the of
I would allow readers of Pamela to see Richardson's virtue. redefinitionasand
a waiting-maid)
Richardson's an social change instead with ofthe
ctive
ox/irtue view
finds(ina the form between
balance of s,possibility
the formally
in essence, exactly what Lennox accomplishes in with of
ative of of of
lIld of
of
?uixote. of situation-it
of Pamela and
rmallytheand
termovertly
"free indirect
unrealisticdiscourse,"
narrativewhich very well
that works of
writing
ignal style. access
torefining
readers toFree
lookindirect discourse
tocritically
character texts.may
at interiority be
Michael Arabella's on
lS man approachec
asa one
result, appears
sentiments as a
are, therefo
reality,
by men.she is entirely justified in throwing fits the reader
Arabella,
romances can empathize with and
are representative
of when
~od of the
to character,
freeand
first-
characterization
mind
reflect
historicity
working indirectbut
ait"
discourse
also
third-person
externally
within and
very tonarration
real
upon vacate
its
strict in that of
experience
framework Her
rnal
Ilction
.and locale
(McKeon
obability with
speak in
an
261)
from
and exteriority
external free (unlike epistolary
improbability. Probability form) as
snaive
nto twoclaim
this of
categories: internal... and external. External much
40
y is defined as '"the correspondence between fictional
41

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 Kjelland '08: The 18th Century Novel: Defining and Redefining Realism
romance fiction do because they control love
combines the realism

would continue to empathize with a schizophrenic person who had

the same time simply lost touch actions
that Arabella's with reality.
are internally of charae­
romances
still very amuch
ble, the entire situation isAt heroine within
novel.
in her
her
externally the text.
Lennox
life usesTaking her romance
the consequences of
ltbable,
holdswhich
critical outrageous
readingallows views about
fornovels
to inform the tocourtship
represent
external and
reality, she plays the role
reader of
abella is, therefore, an absorptive, non-critical reader
a critical commentary on reading by
Lennox while maintaining three dimensional, realistic characters. Watt's of reading.theFielding
act
The external improbability, once again, arises from Arabella Fielding
actinginstead
objective
conscious creates
assessment aconcerning
that discourse
they where
the values
are being
perspective inguided byteach
order to a certain
a spe:su
as a reader of which allows them take a step back th
and
of of of

mal<­
Lennox's of f

of The promoted. Lennox is ultimately most effecti

with
Female Quixote of the negative consequences the
reading non­reader
of while
Fielding also
fails portraying
to create realisti·
three dimensional
literary chf
styles. Whereas Richardson enCOUfai
critically. There are other internal "readers" withinsituations that
the text as to serve
applyashisapplications for critic
critical analysis to a moral narra:
well, which I will not cover in this paper, but they serve much thecontrast to both, writes in a mixed style calle
same critical purpose for Lennox. The critical reading indirect discourse,"
of The which allows her to
Female Quixote works in much the same way as would a critical crea.
reading of Pamela using the critical lens developed by Fielding in
Joseph Andrews (discussed earlier in the paper). Just as a critical
reading of Pamela would reveal a the virtue
redefinition of of
s 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 truth,daring,"
imagine theradical
womannovelist has announced
(however improbable
disagreement over those
Spacks states, indices
possibilities appear given the current social context). "By
"to
of revolutionary
possibilities for fiction" (23). By placing Arabella in a world a three
of dimensional
romance, in which completely rational she-aswithin the character-acts
arealism
world where
Richardson's
its perspectives.
her irrational
Fieldingand women
thatsoallows
portrays have
givenreadersmore
to of control, as those in
context
ion doreveals
tive
on
ennox notsubjective
have all the power.
Intheconclusion,
world
possibility allShe
fromthen, reveals
while the
Richardsor of
42
of

43

Published by Digital Commons @ IWU, 2008 11

 The Delta, Vol. 3 [2008], Iss. 1, Art. 6
romance fiction do because they control love. In this way Lennox
combines the realism

lue to empathize still

withvery much externally
a schizophrenic person who had
)uch
ch
time with
allows reality.
for a criticalactions
that Arabella's commentary on reading by
are internally of
~situation of
is of
Pamela followsreading.the Fiel
realis
act
e maintaining
a heroine in
threeherher life
dimensional, realistic characters. Watt's conception of that they are being guided
subjective by a certai
perspective in or
he
improbability,
external reader
once again, arises from Arabella acting which allows theminstead
Fielding take a step back
creates a da
der
: romances within the text. Taking her romance objective assessment
conscious concerning the
resent reality, she plays the role of of of promoted. Lennox is ultimately mos
it literary styles. Whereas Richardson
Fielding fails to create three dimensi
x's of to apply his critical analysis to a mor
of The contrast to both, writes in a mixed st
}te of the negative consequences
reading non-
of
internal "readers" within the text as
er in this paper, but they serve much the
Lennox. The critical reading of The by McKeon "free
}te works in much the same way as would a critical indirect discourse," which allows her to create a critical dialogue
mela using the critical lens developed by Fielding in with the reader while also portraying realistic characters and
ws
critical situations that serve as applications for critical reading.
mela would reveal
a the daring,"
virtue
redefinition of of
veal
radical
thedisagreement
social
s a critical reading over of
~ixote,
mprobable
nced revolutionary
those
).
"By

lr placing Arabella Richardson's

its perspectives.
inher Fielding
a aworld
irrational characters
that
worldofwhere with thetocritical
allows readers view the subjective
tional
ambition
three:fs,
arhich within
Lennox
dimensional
she-as the
perspective
doreveals given
Inthe
not have context
conclusion,
world
all fromthen,
the power.
possibility allShe
while
character-acts Richardson's
reveals the
a world where women have ofmore control, as those in
of
42

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

Works Cited Between Tales and Their T€

Jessicafor the
Block pilgri
debate,
agrea
Fielding, Henry. Joseph Andrews, Shamela. Oxford: Oxford tale-telling
Chaucerian critics.
World's
Classics, 1999. Gardiner, Ellen. The
Host's motives
Regulating Literary Criticism in the Eighteenth and the roles he oc
Readers: Gender and Century Novel. appointed leader of
London: Associated University Presses, competition up
1999. Most I

Lennox, Charlotte. The Female Quixote. Oxford: Oxford World's Fiction: Great force throughout the Canterbury Tales and th;
Classics,Britain."
1998. McKeon, Michael. "Prose from the forefront of Tales because he hal::G
The Cambridge
Literary
History
Criticism
of its
(No. core, finalizes
as William Keen
4). Cambridge: Cambridge University Press, 2006. 238­ which the the Hm
263. occasionally and speaks in minute bursts. It i
Probyn, Clive. English Fiction
the Eighteenth
of Century. 1700­ important, wellthese
readers
then,as bursts
that
the
and
Hm
weinterpl
as take a backseat on
1789. London: Longman, 1987. duties.
the function drives of as
Richardson, Samuel. Pamela, or, Virtue Rewarded. London: The Host does not
Penguin, 2003. the Tales along to further his own agel:
Spacks, Patricia Meyer. Desire and Truth: interrupting
Plot inFunctions of the pilgrims to make his presenc l

Eighteenth-Century English Novels. Chicago Press, remind

Chicago & London: 1990. both pilgrims dialogue
the
more
and pilgrims.
pilgrims
effect,
voice"
from
is forefront
readers
a the
the
are agenda:
(Keen
in pow~
Chaucer
ofthe
Host's
"the
portrait
to several
6),to
for
a cohesive whe
bits
firs
ma
Canterburywh
ag
University of is
Warner, William B. in
allowing
pursuing
disruptive,
General Prologue,
group. he In
General
serves financially
as
the
thetelling contesta unifying rewarding of
position" (5) and refrains from e
but
Licensing Entertainment. Berkeley & California Press, 1998. Host's portrait. Although Chauc
London: University ofWatt, Ian. Host never at ofthe
The Risethe
ofNovel. London: Chatto & Windus, 1957. fOi
his own
journey
Host other ""
the Host to be
to speak his own
to the
Prologue

1
large man...with eyen stepe" (I. 753), the H
the
descriptions of

44

Published by Digital Commons @ IWU, 2008 13