The rise of the novel: studies in Defore, Richardson and by Ian Watt

By Ian Watt

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W. Griffith’s technique of the ‘close-up’ did for the film: added a new dimension to the representation of reality. Fielding approached the problem of time in his novels from a more external and traditional point of view. In Shamela he poured scorn on Richardson’s use of the present tense: ‘Mrs. Jervis and I are just in bed, and the door unlocked; if my master should come—Ods-bobs! I hear him just coming in at the door. You see I write in the present tense, as Parson William says.  . 31 At the same time, however, Tom Jones introduced one interesting innovation in the fictional treatment of time.

Fielding, indeed, seems to have realised this by the time he came to write his last novel, Amelia: there his neo-classical preference for type-names finds expression only in such minor characters as Justice Thrasher and Bondum the bailiff; and all the main characters—the Booths, Miss Matthews, Dr. Harrison, Colonel James, Sergeant Atkinson, Captain Trent and Mrs. Bennet, for example—have ordinary and contemporary names. 16 Whether this is so or not, it is certain that Fielding made considerable and increasing concessions to the custom initiated by Defoe and Richardson of using ordinary contemporary proper names for their characters.

Aaron, The Theory of Universals (Oxford, 1952), pp. 18–41. 3 See S. Z. Haau, RsaIi. (Cambeidge, ze8), ds. and 2.

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