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Henry Fielding and the Progress of Romance
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Henry Fielding’s novels fit centrally into recent revisionist accounts of the novel as an international genre defined by translation and adaptation and even by its filiations with romance. Against the standard story of the novel rising as it moves away from romance, Fielding’s novels develop as they approach romance. His art increases in power and sophistication as he more fully explores the possibilities of romance, both structural and modal. As Fielding moves from Jonathan Wild to Joseph Andrews, Tom Jones, and Amelia, the productive tension between satire and romance that organizes all his novels is increasingly resolved by integrating the satire into the structures of romance; love is increasingly explored and not just assumed; and the romance heroine becomes increasingly central. Fielding uses the modal forces of romance to address the issues raised by its expansive, dialogic, and intertextual generic structures.
Title: Henry Fielding and the Progress of Romance
Description:
Henry Fielding’s novels fit centrally into recent revisionist accounts of the novel as an international genre defined by translation and adaptation and even by its filiations with romance.
Against the standard story of the novel rising as it moves away from romance, Fielding’s novels develop as they approach romance.
His art increases in power and sophistication as he more fully explores the possibilities of romance, both structural and modal.
As Fielding moves from Jonathan Wild to Joseph Andrews, Tom Jones, and Amelia, the productive tension between satire and romance that organizes all his novels is increasingly resolved by integrating the satire into the structures of romance; love is increasingly explored and not just assumed; and the romance heroine becomes increasingly central.
Fielding uses the modal forces of romance to address the issues raised by its expansive, dialogic, and intertextual generic structures.
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