[No abstract available] / Arts, Faculty of / English, Department of / Graduate

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Programm--Friedrichs-Realgymnasium, Berlin.

Thesis (Ph.D.) - University of Glasgow, 2008. / Ph.D. thesis submitted to the Department of Theology and Religious Studies, Faculty of Arts, University of Glasgow, 2008. Includes bibliographical references. Print version also available.

No description available.

The purpose of this thesis are to show that Fielding's dramas reflect the social and political abuses prevalent in England during the first four decades of the eighteenth century; to show through careful delineation of specific drams that those dramas led to repeated attempts by the Walpole Ministry to pass a licensing act; and to show that Fielding was seriously concerned about the political and social deterioration which he felt was occurring during the decade of the 1730's.

Part of Thesis (Ph. D.)--University of Chicago, 1934. / Photolithographed. "Private edition, distributed by the University of Chicago libraries."

The significance and appropriateness of the interpolated tale in Henry Fielding’s novels, Jonathan Wild, Joseph Andrews, Tom Jones and Amelia, is the subject of much discussion. Despite the attention devoted to the interpolated tale, there is no unanimity of opinion concerning what should be censured nor why it should be condemned. The lack of agreement over what constitutes an interpolated tale has given rise to conflicting opinions and statements.The interpolated tale, as Fielding develops it, has a retrospective quality and generally relates a character's experience or life history. The narration of the tale provides the listener with a contrasting standard to which he can compare his own values. Moreover, Fielding's utilization of the interpolated tale incorporates it into the structure of the novel.As a result of its incorporation into the structure of the novel, the interpolated tale has a thematic and structural relationship to the main narrative. Fielding uses the interpolated tale to expand his comments on the themes of appearance and reality, greatness and goodness, prudence and affectation. Affectation, Fielding believes, is a universal shortcoming of mankind that appears either as vanity or hypocrisy. Vanity is a consequence of an individual falling short of his desired reputation. But hypocrisy arises from an individual's attempts to project an image that is the reverse of his true nature. The latter form is found most frequently in the city where men attempt to impress others more often. The former variety occurs more frequently in a rural setting because men can be more honest in the country. Just as the tale has a thematic purpose, so it also becomes part of the structure of the novel. The tales narrated by characters in the novel are amalgamated into the basic narrative itself and thus contribute to the development of the plot. Whether the interpolated tales have an autobiographical element or not, they become an integral part of the novel.The interpolated tale, in Fielding's novels, functions much as the rehearsal or scene-within-a-scene does in his dramas. Fielding employs the rehearsal scene to expand the range of his comment upon society and its problems and refines the technique to meet his needs in developing the novel. In Jonathan, Wild, Mrs. Heartfree's tale unifies the narrative by relating Fielding's development of the Wild and Heartfree episodes to the theme of affectation. "The History of Leonora" and "The History of Two Friends" in Joseph Andrews provide examples of affectation for the edification of the characters, and Mr. Wilson's history recounts the consequences of inadequate training. The three interpolated tales in Tom Jones, the Quaker's the Man of the Hill's, and Mrs. Fitzpatrick.'s, are related for the benefit of the listeners and specify the results of affectation. The tales in Amelia, Miss Matthews', Captain Booth's, Mrs. Bennet's, and Captain Trent's, provide a further commentary on affectation and its consequences. A further refinement of the rehearsal scene developed by Fielding centers around his development of the rehearsal scene as a precursor to the flashback. In Amelia, Fielding begins the novel in media res and employs the interpolated tale to provide background information.Fielding's adaptation of the rehearsal scene to fit the needs of his novels constitutes an example of his keen perception of the applicability of the device to another genre. Through his skillful development of the interpolated tale, Fielding has contributed significantly to the evolution of the novel.

Diss.--Rostock.

Poet, playwright, journalist, and novelist, Henry Fielding produced a striking variety of works in his literary career. A large portion of these works are filled with satire. The numerous farces, burlesques and comedies Fielding produced as a dramatist relied heavily for their appeal on the social, literary and political satire they contained. The irony and derision in these works was directed at specific elements in his society which Fielding felt merited exposure. His pose was that of the Augustan satirist ridiculing the folly he witnessed around him. Fielding's first attempts at prose were also satirical, with many of the targets the same as those he had attacked in his plays. However, the nature of his satire began to change, to take on moral overtones as he began to concentrate on larger, more fundamental problems concerning man and his relation to society. Jonathan Wild, Fielding's most sustained satire in the Augustan manner, is the first of his works to fully reveal the author's preoccupation with moral issues of his day. In this satire Fielding's concern is with the principles that govern human behaviour and the whole question of good and evil in man's nature. This type of moral satire is carried further in Joseph Andrews and Tom Jones where Fielding sets out not only to ridicule society's follies, but also to portray a way of life as a norm of behaviour for the common man. He is no longer the satirist concentrating on the evil in society, for as novelist he must portray society with all its intricate blendings of good and evil. Even in his comic novels,however, Fielding never completely abandoned the role of satirist, and it is the changing nature of the satire in his works as he switched from dramatist to novelist that I discuss in this thesis. / Arts, Faculty of / English, Department of / Graduate