Samuel Richardson Criticism
Samuel Richardson (1689–1761) is a seminal figure in the development of the modern novel, renowned for his mastery of the epistolary format. His works, notably Clarissa and Sir Charles Grandison, introduced complex narrative techniques, including multiple viewpoints and layered plots, aligning the novel form more closely with the intricate tapestry of real life. Richardson's techniques were noted for their psychological depth and intimate portrayal of characters' internal landscapes, thus enhancing the novel's potential for exploring human emotions and social dynamics.
Richardson's background as a printer positioned him well for a literary career, allowing him to merge professional skills with creative ambition. His early works, such as Pamela; or Virtue Rewarded, emerged from a project to craft model letters for the uneducated, which evolved into a vivid exploration of class tensions and personal identity. As explored by McKillop, these narratives resonated with the aspirations of the burgeoning middle class, advocating for moral integrity and the virtues of the average individual.
Critically, Richardson's work was initially lauded for its moral clarity, though it faced challenges, notably from contemporaries like Henry Fielding, whose parody Shamela critiqued Richardson's moral earnestness and the materialistic undertones of Pamela, as discussed by Kreissman. Despite this, Richardson's focus on psychological realism and his innovative narrative techniques secured his lasting influence. As Guilhamet argues, an overemphasis on his realism can overlook the moral ideals that underpin his work.
Present-day critics recognize Richardson as a pioneer of psychological realism and a keen observer of social mores, with his intricate character profiles offering insight into the gender dynamics and moral conundrums of his time. His novels, as Warner highlights, were designed to engage readers deeply and challenge them to consider virtue in a complex world. Through his epistolary style, Richardson invites readers to navigate the blurred lines between reality and fiction, truth, and narrative storytelling, as noted by Dussinger. His literary legacy endures as a cornerstone of modern novelistic tradition and an exploration of the human psyche.
Contents
- Principal Works
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Essays
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Richardson's Novels
(summary)
In the following essay, Stephen argues that Richardson's integration of 'feminine' characteristics into his style—namely, propensities for letter-writing, flattery, idle chatter, and 'the delicate perception, the sensibility to emotion, and the interest in small details'—is responsible for both the merits and defects of his works.
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Reputation and Influence
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In the following excerpt, McKillop surveys eighteenth-century criticism of Richardson's novels, discussing the relationship between reputation and influence, and the unique qualities of Richardson's work compared to his contemporaries.
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From Pamela Andrews to Joseph Andrews
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In the excerpt below, Kreissman evaluates the objections to Pamela brought forward in Henry Fielding's devastating parody of the work, Shamela.
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The Dramatic Novel
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In the excerpt following, Konigsberg examines several epistolary techniques used by Richardson in his novels and explains how Richardson's handling of dialogue and visual descriptions enabled him to achieve effects typically attained only in the theater.
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From Pamela to Grandison: Richardson's Moral Revolution in the Novel
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In the following essay, Guilhamet contends that undue emphasis has been placed on Richardson's realism. He suggests that, instead, the proper focus should be on the novelist's moral ideals.
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Richardson as Author: Gamester and Master
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Below, Warner explores Richardson's sometimes counterproductive attempts at asserting authorial control over the readers of Clarissa. Richardson's debate with his readers about the true meaning of Clarissa, and the proper ending for the story, is one of the truly bizarre episodes in the annals of the English literary tradition. These debates provide historical evidence for something we have already noticed about the text—its openness to divergent interpretations. Why does this text incite such diverse interpretations? An answer emerges from a consideration of Richardson's aesthetic—his stated intentions in writing Clarissa, and the steps he takes to realize those intentions. A shorthand formulation of this aesthetic might go this way: Richardson has a design upon his readers. He wishes to re-form them so they will embrace the Christian ideals of virtue that a wayward age has forgotten. The first step is to engage the reader in the story as powerfully as possible. Richardson does this by working to give his fiction all the immediacy, suspense, and presentness of a game. Then, with the reader caught in the coils of the fiction, Richardson plans to make his story swerve toward virtue, and carry the reader with him irresistibly.
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'Naming the Writer': Exposure, Authority, and Desire in Pamela
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In the following essay, Larson examines parallels in Pamela between Richardson and B, particularly in regard to their avoidance of self-exposure.
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Horrid Romancing: Richardson's Use of the Fairy Tale
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In the following excerpt, Flynn discusses how Richardson uses elements of the fairy tale in creating a fantastic world and contends that—through editorial power and attention to minutiae—he positions readers to accept the extraordinary as normal.
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The Institutionalization of Conflict (I): Richardson and the Domestication of Service
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In the following excerpt, McKeon considers Pamela's struggles in the context of eighteenth-century domestic service and socialization.
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Truth and Storytelling in Clarissa
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In the following essay, Dussinger discusses truth and the semblance of truth in Clarissa's letters, and explains why Clarissa's attempts at sincerity cannot succeed.
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Three into One: Plotting and Epistolary Technique
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In the following excerpt, Bueler describes various plot-combining techniques used in Clarissa, including the sharing of characters and events throughout the novel's three plots, and the use of dramatic elements in letters exchanged between characters.
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Richardson's Novels
(summary)
- Further Reading