What is a novel?
J.Paul Hunter, Before Novels (1990)
pp. 23-24 Features that characterize the species "novel":
1. Contemporaneity
2. Credibility and Probability
3. Familiarity. Everyday existence and common personages
4. Rejection of traditional plots (communal, aristocratic stereotypes and patterns)
5. Tradition-free language, deliberately unliterary
6. Individualism, subjectivity: the degree and quality of self-consciousness
7. Empathy and vicariousness in reading
8. Coherence and unity of design; continuous action; more explicitly ideological that other literary species
9. Inclusivity, digressiveness, fragmentation [often travel narratives]
10. Self-consciousness about innovation and novelty
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From M.M. Bakhtin, from The Dialogic Imagination
The language of the novel is a system of languages that mutually and ideologically interanimate each other.
p. 262 The novel can be defined as a diversity of social speech types (sometimes even a diversity of languages) and a diversity of individual voices, artistically organized. The internal stratification of any single national language into social dialects, characteristic group behavior, professional jargons, generic languages, languages of generations and age groups, tendentious languages, languages of the authorities, of various circles and of passing fashions,
*** --this internal stratification present in every language at any given moment of its historical existence is the indispensable prerequisite for the novel as a genre. The novel orchestrates all its themes, the totality of the world of objects and ideas depicted and expressed in it, by means of the social diversity of speech types and by the differing individual voices that flourish under such conditions. Authorial speech, the speeches of narrators, inserted genres, the speech of characters are merely those fundamental compositional unities with whose help heteroglossia can enter the novel; each of them permits a multiplicity of social voices and a wide variety of their links and interrelationships (always more or less dialogized). These distinctive links and interrelationships between utterances and languages, this movement of the theme through different languages and speech types, its dispersion into the rivulets and droplets of social heteroglossia, its dialogization--this is the basic distinguishing feature of the stylistics of the novel.
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To what and whom is Fielding responding?
Samuel Richardson, Pamela (1740) Letter 1
Dear Father and Mother,
I have great trouble, and some comfort, to acquaint you with. The trouble is, that my good lady died of the illness I mentioned to you, and left us all much grieved for the loss of her; for she was a dear good lady, and kind to all us her servants. Much I feared, that as I was taken by her ladyship to wait upon her person, I should be quite destitute again, and forced to return to you and my poor mother, who have enough to do to maintain yourselves; and, as my lady's goodness had put me to write and cast accounts, and made me a little expert at my needle, and otherwise qualified above my degree, it was not every family that could have found a place that your poor Pamela was fit for: but God, whose graciousness to us we have so often experienced at a pinch, put it into my good lady's heart, on her death-bed, just an hour before she expired, to recommend to my young master all her servants, one by one; and when it came to my turn to be recommended, (for I was sobbing and crying at her pillow,) she could only say, My dear son!—and so broke off a little; and then recovering—Remember my poor Pamela—And these were some of her last words! O how my eyes run—Don't wonder to see the paper so blotted.
Well, but God's will must be done!—And so comes the comfort, that I shall not be obliged to return back to be a clog upon my dear parents! For my master said, I will take care of you all, my good maidens; and for you, Pamela, (and he took me by the hand; yes, he took my hand before them all,) for my dear mother's sake, I will be a friend to you, and you shall take care of my linen. God bless him! and pray with me, my dear father and mother, for a blessing upon him, for he has given mourning and a year's wages to all my lady's servants; and I having no wages as yet, my lady having said she should do for me as I deserved, ordered the housekeeper to give me mourning with the rest; and gave me with his own hand four golden guineas, and some silver, which were in my old lady's pocket when she died; and said, if I was a good girl, and faithful and diligent, he would be a friend to me, for his mother's sake. And so I send you these four guineas for your comfort; for Providence will not let me want: And so you may pay some old debt with part, and keep the other part to comfort you both. If I get more, I am sure it is my duty, and it shall be my care, to love and cherish you both; for you have loved and cherished me, when I could do nothing for myself. I send them by John, our footman, who goes your way: but he does not know what he carries; because I seal them up in one of the little pill-boxes, which my lady had, wrapt close in paper, that they mayn't chink; and be sure don't open it before him.
I know, dear father and mother, I must give you both grief and pleasure; and so I will only say, Pray for your Pamlea; who will ever be
Your most dutiful Daughter.
I have been scared out of my senses; for just now, as I was folding up this letter in my late lady's dressing-room, in comes my young master! Good sirs! how was I frightened! I went to hide the letter in my bosom; and he, seeing me tremble, said, smiling, To whom have you been writing, Pamela?—I said, in my confusion, Pray your honour forgive me!—Only to my father and mother. He said, Well then, let me see how you are come on in your writing! O how ashamed I was!—He took it, without saying more, and read it quite through, and then gave it me again;—and I said, Pray your honour forgive me!—Yet I know not for what: for he was always dutiful to his parents: and why should he be angry that I was so to mine? And indeed he was not angry; for he took me by the hand, and said, You are a good girl, Pamela, to be kind to your aged father and mother. I am not angry with you for writing such innocent matters as these: though you ought to be wary what tales you send out of a family.—Be faithful and diligent; and do as you should do, and I like you the better for this. And then he said, Why, Pamela, you write a very pretty hand, and spell tolerably too. I see my good mother's care in your learning has not been thrown away upon you. She used to say you loved reading; you may look into any of her books, to improve yourself, so you take care of them. To be sure I did nothing but courtesy and cry, and was all in confusion, at his goodness. Indeed he is the best of gentlemen, I think! But I am making another long letter: So will only add to it, that I shall ever be
Your dutiful daughter, PAMELA ANDREWS
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Satire's predecessors in the "learned wit" tradition:
From Erasmus, In Praise of Folly (1509):
Come now then as many of you as challenge the respect of being accounted wise, ingenuously confess how many insurrections of rebellious thoughts, and pangs of a laboring mind, ye are perpetually vexed and tortured with; reckon up all those inconveniences that you are unavoidably subject to, and then tell me whether fools do not barely laugh and sing, and play the good-fellow alone to themselves: but as it is the nature of good to be communicative, so they impart their mirth to others, by making sport for the whole company they are at any time engaged in, as if providence purposely designed them for an antidote to melancholy: whereby they make all persons so fond of their society, that they are welcomed to all places, hugged, caressed, and defended, a liberty given them of saying or doing anything; so well beloved, that none dares to offer them the least injury; nay, the most ravenous beasts of prey will pass them by untouched, as if by instinct they were warned that such innocence ought to receive no hurt. Farther, their converse is so acceptable in the court of princes, that few kings will banquet, walk, or take any other diversion, without their attendance; nay, and had much rather have their company, than that of their gravest counselors, whom they maintain more for fashionsake than good-will; nor is it so strange that these fools should be preferred before graver politicians, since these last, by their harsh, sour advice, and ill-timing the truth, are fit only to put a prince out of humor, while the others laugh, and talk, and joke, without any danger of disobliging.
It is another very commendable property of fools, that they always speak the truth, than which there is nothing more noble and heroical. For so, though Plato relates it as a sentence of Alcibiades, that in the sea of drunkenness truth swims uppermost, and so wine is the only teller of truth, yet this character may more justly be assumed by me, as I can make good from the authority of Euripides, who lays down this as an axiom: mora moros legei, children and fools always speak the truth.
Whatever the fool has in his heart he betrays it in his face: or what is more evident, discovers it by his words: while the wise man, as Euripides observes, carries a double tongue; the one to speak what may be said, the other what ought to be; the one what truth, the other what the times require: whereby he can in a trice so alter his judgment, as to prove that to be now white, which he had just before sworn to be black; like the satyr at his porridge, blowing hot and cold at the same breath; in his lips professing one thing, when in his heart he means another.
Furthermore, princes in their greatest splendor seem upon this account unhappy, in that they miss the advantage of being told the truth, and are shammed off by a parcel of insinuating courtiers, that acquit themselves as flatterers more than as friends. But some will perchance object, that princes do not love to hear the truth, and therefore wise men must be very cautious how they behave themselves before them, lest they should take too great a liberty in speaking what is true, rather than what is acceptable.
This much must be confessed, that truth indeed is seldom palatable to the ears of kings; yet fools have so great a privilege as to have free leave, not only to speak bare truths, but the most bitter ones too; so as the same reproof, which had it come from the mouth of a wise man whould have cost him his head, being blurted out by a fool, is not only pardoned, but welcomed and rewarded. For truth has naturally a mixture of pleasure, if it carry with it nothing of offence to the person whom it is applied to; and the happy knack of ordering it so is bestowed only on fools.