The Rise of the Novel in Britain, 1660–1780

Abstract

Every premise of the phrase “the rise of the novel” has been assailed in recent years. “The rise” suggests a single, uniform phenomenon, which scholars contest. If that phenomenon is a “rise,” it sounds inevitable and progressive in teleological terms, which critics find problematic. “The novel” implies we are dealing with a single genre, and if that genre is called “novel” we may be ignoring things that do not fit a preconception or are using a historically problematic term. For these reasons, this bibliography addresses the rise of the novel in Britain, during the period 1660–1780, aiming for greater specificity of place and time. Notwithstanding their problematizing of “the rise of the novel,” literary historians remain interested in the fact that for Shakespeare and Spenser prose fiction was barely an option, whereas for Austen and Scott two centuries later it was an obvious one. Drama and poetry had not disappeared, so what changed? The scholarship included in this bibliography takes different approaches to the problem. Some begin from history, linking the advent of the novel to social, religious, economic, or political changes. Others focus on issues intrinsic to literature, like genre. What genres did the novel develop from or alongside: how and why? How did it develop as a form, such as in terms of narrative style or characterization techniques? Though commentators starting in the 18th century sought to explain the new species of writing, and this continued during the 19th and early 20th centuries, this bibliography focuses on work following Ian Watt’s influential The Rise of the Novel (1957). Therefore, it does not cover pre-20th-century studies. Important novels in the tradition include: Aphra Behn’s Oroonoko (1688) and Love-Letters between a Nobleman and his Sister; Daniel Defoe’s Robinson Crusoe (1719) and Moll Flanders (1722); Eliza Haywood’s Love in Excess (1719–1720) and Betsy Thoughtless (1751); Samuel Richardson’s Pamela (1740–1741) and Clarissa (1747–1748); Henry Fielding’s Joseph Andrews (1742) and Tom Jones (1749); Tobias Smollett’s Roderick Random (1748) and Humphry Clinker (1771); Laurence Sterne’s Tristram Shandy (1759–1767) and A Sentimental Journey (1768); and Frances Burney’s Evelina (1778) and Cecilia (1782). For the reader new to this topic, I would recommend beginning with Watt, before advancing to Brean Hammond and Shaun Regan’s Making the Novel (2006) and Patricia Meyer Spacks’s Novel Beginnings (2006). Next, J. Paul Hunter’s Before Novels (1990), Jane Spencer’s The Rise of the Woman Novelist (1986), Ira Konigsberg’s Narrative Technique in the English Novel (1985), and Michael McKeon’s The Origins of the English Novel, 1600–1740 (1987) will give a rigorous grounding in a range of approaches through genre, formalism, feminism, historicism, and print culture, so the reader may then pursue directions such as postcolonialism, individual genres (like romance), or particular contextual factors. Nicholas Seager’s The Rise of the Novel: A Reader’s Guide to Essential Criticism (2012), alongside this bibliography, will make for a useful companion to your reading in criticism. Keep in mind that understanding the 18th-century novel will be best achieved by reading as many 18th-century novels as possible.