Defoe, Richardson, Fielding and the English Novel :: Literature Essays Literary Criticism

Defoe, Richardson, Fielding and the side of meat Novel The root of the novel extend as far back as the start-off of communication and language because the novel is a compilation of various elements that father evolved over the centuries. The birth of the English novel, however, can be centered on the work of three writers of the 18th century Daniel Defoe (1660-1731), Samuel Richardson (1689-1761) and Henry Fielding (1707-1754). divers(a) critics pass on deemed both Defoe and Richardson the father of the English novel, and Fielding is never discussed without proportion to Richardson. The choice of these three authors is not arbitrary it is based on rally elements of the novel that these authors contributed which brought the novel itself into place. Of course, Defoe, Richardson and Fielding added onto styles of the past and writing styles of the period, including moralistic financial statement and picaresque stories. Using writing of the time and the literary tradition of the past, Defoe introductory crafted the English novel while Richardson and Fielding completed its inception. Critics disagree on a strict definition of the novel D.H. Lawrence has remarked, You can put anything you want in a novel (Stevenson 2), and Wagenknecht in his Cavalcade of the English Novel has claimed the ...novel has never been satisfactorily defined (xvii). Henry James had a unique information of the novel A novel is a living thing, all matchless and continuous, like any early(a) organism, and in proportion as it lives forget it be found, I think, that in each of the parts there is something of the other parts. (Kettle 12) Novel amazes from the Italian novelle, which was used for sensational news stories. One collection, Giovanni Boccaccios The Decameron, was popularized in the 14th century (Phelps 11). The term carried over into English to form the substructure of the English novels. There are certain components that a novel should contain. George Phelps has come up with a six-part basis for identifying novels the writing must be fictitious, or in other words not pretend to tell the truth, have a certain length, attain a unity of plot, theme, tone, atmosphere, or vision, bring in an illusion of reality, be concerned with character, and be prose (Phelps 7-8). Kettle, in his An Introduction to the English Novel, argues a novel must have two elements -- a tone of voice of life and a significant pattern (13).