Theatre and the novel from Behn to Fielding
Author(s)
Bibliographic Information
Theatre and the novel from Behn to Fielding
(Oxford University studies in the Enlightenment, 2015:07)
Voltaire Foundation, c2015
Available at 8 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
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  United States of America
Note
Bibliography: p. 245-257
Includes index
Description and Table of Contents
Description
Ever since Ian Watt's The Rise of the novel (1957), many critics have argued that a constitutive element of the early 'novel' is its embrace of realism. Anne F. Widmayer contends, however, that Restoration and early eighteenth-century prose narratives employ techniques that distance the reading audience from an illusion of reality; irony, hypocrisy, and characters who are knowingly acting for an audience are privileged, highlighting the artificial and false in fictional works.
Focusing on the works of four celebrated playwright-novelists, Widmayer explores how the increased interiority of their prose characters is ridiculed by the use of techniques drawn from the theatre to throw into doubt the novel's ability to portray an unmediated 'reality'. Aphra Behn's dramatic techniques question the reliability of female narrators, while Delarivier Manley undermines the impact of women's passionate anger by suggesting the self-consciousness of their performances. In his later drama, William Congreve subverts the character of the apparently objective critic that is recurrent in his prose work, whilst Henry Fielding uses the figure of the satirical writer in his rehearsal plays to mock the novelist's aspiration to control the way a reader reads the text. Through analysing how these writers satirize the reading public's desire for clear distinctions between truth and illusion, Anne F. Widmayer also highlights the equally fluid boundaries between prose fiction and drama.
Table of Contents
Introduction
1. Aphra Behn's dramatic techniques in prose: credibility and female power
i. Behn's and Southerne's Oroonokos: individuals and groups
ii. Parallels between the narrator and Oroonoko
iii. Echoes of Rover I
2. Performed emotion in Delarivier Manley's works: actors and voyeurs
i. Discovering emotion in Manley's plays
ii. Scenes in Manley's prose
iii. Validating female emotion in Memoirs of Europe and The Power of love
3. Hybrid dramatic-narrative techniques: William Congreve's Incognita and The Old batchelor
i. Staging lovers in Dryden's Assignation and Congreve's Incognita
ii. Scarron's influence upon Incognita
iii. Heartwell as satirical commentator in The Old batchelor
4. Abandoning control over 'reality': author-characters in Henry Fielding's plays
i. The satirist satirized in Fielding's author-character plays
ii. Author-characters as Fielding's theatrical avatars
5. Self-conscious anti-realism: readers as actor-authors in Henry Fielding's prose
i. Fielding's self-ironizing author-characters
ii. Novel characters who comment metatheatrically
6. Conclusion
Bibliography
Index
by "Nielsen BookData"