Epilogue:
From Romance to Novel
From a modern point of
view, it is astonishing how little prose fiction has been mentioned in these
pages. There were Malory's Morte Darthur, More's Utopia (in
Latin) and Sidney's Arcadia. Verse and drama were certainly much more
popular. However, there are also works that have not been mentioned. The modern
novel did not develop directly from the medieval and renaissance romance, which
was set in an essentially unreal world of fantasy. The novel is marked from the
start by closeness to reality, by a concern for verisimilitude.
Therefore we might look
for one starting point in the popular moral tracts produced by Robert Greene
(1558 - 1592) who was a wild drunkard well acquainted with the taverns and
brothels of London, for which he abandoned his wife and children. In Greene's
Groats-Worth of Wit, bought with a Million of Repentance (1592) he tells an
"edifying" story in which the hero (Roberto, himself) tries to cheat
his brother out of a fortune with the help of a prostitute, but she keeps the
money for herself and Roberto becomes more and more degraded. The same
combination of descriptions of wickedness with a moral ending is found in The
Repen¡©tance of Robert Greene which describes the spectacular life and death
of the writer himself.
Thomas Deloney (1560 -
1600) was a simple silk-weaver who wrote many ballads on popular and
national themes. These were published on single pages known as 'broadsides' and
sold at fairs. He also wrote prose fiction on the life of humble folk. In Jack
of Newbury (1597) and The Gentle Craft he shows clothiers and
shoemakers making good through hard work, in scenes with much humour and
striking dialogue. In Thomas of Reading (1600) a tavern-keeper and his
wife plot to murder a guest and carry out their plan in a way that many critics
have compared with Macbeth, only Deloney was writing before
Shakespeare's play.
Interest in "low
life" is a very common human characteristic. Elizabethan printers quickly
realized that cheap pamphlets combining descriptions of depravity with moral
messages warning against it, would be very profitable. The dramatist Thomas
Dekker wrote plays set in popular London, The Shoemaker's Holiday (1600)
being best known. He also wrote The Wonderful Year, 1603 describing the
effects of the plague
on ordinary life, as
well as The Seven Deadly Sins of London and The Gull's Horn-Book
(1609) which describe in a very lively fashion how crooks and confidence
tricksters cheat honest folk. Jonson later set The Alchemist and Bartholomew
Fair in a similar social context.
The best-known of all
the works of Elizabethan fiction is The Unfortunate Traveller, or The Life
of Jack Wilton (1594), by Thomas Nash (1567 - 1601). This tells the story
of a page who lives by his wits, tricking gullible people. The work is the
first picaresque tale in England (the Spanish word picaro means a
trickster; the models are the Spanish Lazarillo de Tormes and Guzman
de Alfarache). The hero goes with the earl of Surrey to Italy, meeting many
famous real people like Erasmus and Sir Thomas More on the way. He goes off
with a courtesan and in Italy they rescue the Pope's mistress from a Jew's
plot, then steal her jewels. There are many twists to the episodic plot, with
murders, executions, rapes, betrayals. At last Jack marries the courtesan and repents
of his wild life.
Cervantes' Don
Quixote was translated into English in 1612, but it had little or no effect
on English writers until the 18th century. The Novella (short tale),
either translated from French or Italian or written in English, was very
popular, several served as sources for Shakespeare, but the form has left
little or nothing worth remembering in its own right.
The work generally
considered the first French novel (in the modern sense) was L'Astrée by
Honoré D'Urfé, published in four parts, 1607, 1610, 1619, and 1627. It is a
sentimental, unrealistic, pastoral romance about refined virtues but the
setting, instead of being an unreal Arcadia, is the rural France of the
author's childhood. It was translated into English and was popular in court
circles. Equally popular were two romances by Madame de Scudéri, Le Grand
Cyrus (1649-53) and Clélie (1656-60) with a high-flown heroic ethos
that influenced heroic drama in the Restoration.
An important aspect of
the novel is interest in the oddities of human personality. This was first
fostered by the translation into Latin in 1592 by the Frenchman Isaac Casaubon
of the Greek Characters of Theophrastus (372-287 BC); Theophrastus, who
succeeded Aristotle as head of the Peripatetic School, described in an often
amusing way various characteristic human faults and failings. This was
translated into English
and finally published in
1616 but even before that, in 1608, Joseph Hall had expanded Theophrastus's
scope by adding good characteristics to the bad in his Virtues and Vices.
Sir Thomas Overbury collaborated with Webster, Dekker, and Donne to produce a
very popular volume of Characters in 1616 that was often reprinted. The
17th century fashion of character-writing culminated in France with the
much-admired Les Charactères of Jean de la Bruyère, first
published in 1688 and expanded in eight editions, the last in 1694.
Equally important for
the development of the novel was the growing interest in introspective
psychology, encouraged by the Essays of Michel de la Montaigne
and Robert Burton's Anatomy of Melancholy. Likewise, the novel
assumes an interest in place and setting, not always domestic; this must have
been encouraged by the various descriptions of the great 16th century journeys
of exploration contained in The Principal Navigations, Voyages, and
Discoveries of the English Nation compiled by Richard Hakluyt and
published between 1589 and 1600.
A glance at Sidney's Arcadia
or Bacon's Essays shows how complicated the usual English prose style
still was until the early 17th century. For the novel to evolve, English prose
had to find a simpler style. The pamphlets of the Civil War period must have
helped a great deal in this, as well as the development of a plainer style for
scientific and philosophical writing associated with the Royal Society at the
Restoration.
When English prose
fiction finally came alive, it was in an unexpected way. John Bunyan
(1628 - 1688) was a tinker who learned to read in a village school; he fought
as a common soldier on the parlia¡©mentary side in the Civil War. He became
deeply interested in free Christianity, joined a "nonconformist"
church in Bedford in 1653, and began to preach. At the Restoration, when the
Anglican Church was re-instated, free preachers were not allowed and Bunyan
spent much of the next 12 years in prison for unauthorized preaching. He was
released in 1672. His great work is The Pilgrim's Progress, that he
finished during another brief period in prison in 1676. The first part of Pilgrim's
Progress was published in 1678, the full work in 1684.
This story of the
Christian life as an allegorical journey, with its evocations of ordinary life,
its varied characters and lively dialogues of temptation and exhortation, had
an enormous influence on the English
people for the next two
centuries. It was read at every level of society, in many families it was
regularly read to the children, and until the 20th century it was often the
only book simple people owned beside the Bible. It and the Bible had an almost
equal influence on styles of religious speech and thought.
Contemporary with
Bunyan, but very different, Mrs. Aphra Behn (1640 - 1689) is thought to be the
first English woman to earn a living by writing. She wrote about 15 plays,
mainly satiric comedies, many of which explore the problems of arranged
marriages. Her best-known work of fiction is Oroonoko, or The History of the
Royal Slave. This is similar in elevated tone to the heroic drama but it is
often quoted today in the context of (anti-) colonial literature since its hero
is a "noble savage" of great refinement and superior education, a
slave brought from Africa to Surinam. The author describes her fiction as 'A
True History' and claims to have lived in Surinam in her youth. This is
probably not true and although the work is very moving in its denunciation of
slavery, it is very unreal in its picture of Africa.
The dramatist William
Congreve wrote a similarly romantic piece of fiction in his youth, Incognita
(1691) but it is not usually found to be of great interest. The last and
greatest precursor of the novel was Daniel Defoe (1660 - 1731). His name
was originally Foe, he added the 'De' to suggest a noble French origin. He was
a journalist, a political pamphleteer, a nonconformist who failed in business
and accumulated enormous debts. When he published Robinson Crusoe in
1719, he was already nearly sixty. This well-known story of a man who spends
over twenty years alone on an island and survives because he re-creates most of
the essential features of western civilisation for himself, became one of the
great archetypal tales of the European Age of Reason. Crusoe has become a
modern Everyman, the isolated individual who refuses to succomb to misfortune.
Defoe followed this with
other fictional works including Captain Singleton (1720), the remarkable
Moll Flanders (1722), A Journal of the Plague Year and Colonel
Jack (1722), and Roxana (1724). Some critics still deny these works
the title of "novels", mainly because they are so
"realistic" and contain little poetic development of character. Yet Moll
Flanders in particular is written with an imaginative power, an interest in
human character and environment, in morality and in suffering, that
make it quite obviously
one of the great English novels and therefore, with the rest of Defoe's works,
one of the first. Likewise, Swift's great satire Gulliver's Travels
(1726) is not usually seen as a true novel.
It is perhaps
a desire for neat classification, combined with a snobbish feeling that Defoe
was rather too much of a popular journalist, that explains why he is not
celebrated as the author of the first English novel. This distinction is
usually given to Samuel Richardson, with the publication of Pamela in
1740 marking the start of the modern English novel. Still, it is perhaps
important to remember that infinitely more people have read Robinson Crusoe
with infinitely more pleasure and benefit. In many ways, it is the work that,
more than any other, defined the spirit of the age that lay ahead: an age of
enterprise and individualism, of hope and of confidence in the benefits of
material civilisation. An age of prose in which the courage and spirit of the
unfettered human person were celebrated as never before.