LoveReading4Kids Says
LoveReading4Kids Says
'I beg as soon as you get Fielding's Joseph Andrews, I fear in Ridicule of your Pamela and of Virtue in the Notion of Don Quixote's Manner, you would send it to me by the very first Coach.' (George Cheyne in a letter to Samuel Richardson, February 1742) Both Joseph Andrews (1742) and Shamela (1741) were prompted by the success of Richardson's Pamela (1740), of which Shamela is a splendidly bawdy parody. But in Shamela Fielding also demonstrates his concern for the corruption of contemporary society, politics, religion, morality, and taste. The same themes - together with a presentation of love as charity, as friendship, and in its sexual taste - are present in Joseph Andrews, Fielding's first novel.
It is a work of considerable literary sophistication and satirical verve, but its appeal lies also in its spirit of comic affirmation, epitomized in the celebrated character of Parson Adams. This revised and expanded edition follows the text of Joseph Andrews established by Martin C. Battestin for the definitive Wesleyan Edition of Fielding's works.The text of Shamela is based on the first edition, and two substantial appendices reprint the preliminary matter from Conyers Middleton's Life of Cicero and the second edition of Richardson's Pamela (both closely parodied in Shamela).
A new introduction by Thomas Keymer situates Fielding's works in their critical and historical contexts.
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Joseph Andrews And Shamela Synopsis
'I beg as soon as you get Fielding's Joseph Andrews, I fear in Ridicule of your Pamela and of Virtue in the Notion of Don Quixote's Manner, you would send it to me by the very first Coach.' (George Cheyne in a letter to Samuel Richardson, February 1742) Both Joseph Andrews (1742) and Shamela (1741) were prompted by the success of Richardson's Pamela (1740), of which Shamela is a splendidly bawdy parody. But in Shamela Fielding also demonstrates his concern for the corruption of contemporary society, politics, religion, morality, and taste. The same themes - together with a presentation of love as charity, as friendship, and in its sexual taste - are present in Joseph Andrews, Fielding's first novel.
It is a work of considerable literary sophistication and satirical verve, but its appeal lies also in its spirit of comic affirmation, epitomized in the celebrated character of Parson Adams. This revised and expanded edition follows the text of Joseph Andrews established by Martin C. Battestin for the definitive Wesleyan Edition of Fielding's works.The text of Shamela is based on the first edition, and two substantial appendices reprint the preliminary matter from Conyers Middleton's Life of Cicero and the second edition of Richardson's Pamela (both closely parodied in Shamela).
A new introduction by Thomas Keymer situates Fielding's works in their critical and historical contexts.
About This Edition
| ISBN: |
9780199536986 |
| Publication date: |
12th June 2008 |
| Author: |
Henry Fielding |
| Publisher: |
Oxford University Press |
| Format: |
Paperback |
| Pagination: |
464 pages |
| Series: |
Oxford World's Classics |
| Suitable For: |
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| Recommendations: |
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Author
About Henry Fielding
Henry Fielding was born in 1707 at Sharpham Park, near Glastonbury. He was educated privately at first and then at Eton. In 1725 he attempted to abduct an heiress and was bound over to keep the peace. He then went to London, where in 1728 he published a satirical poem, The Masquerade, and a comedy, Love in Several Masques.
From 1728 to 1729 he was a student of literature at Leyden University, returning to London in the autumn of the latter year. Between then and 1737 he wrote some twenty-five dramatic pieces, including comedies, adaptations of Molière, farces, ballad operas, burlesques and a series of topical satires, such as Pasquin and The Historical Register, which lampooned Sir Robert Walpole and his government.
It was partly because of this last play that Walpole introduced the Stage Licensing Act in 1737, which effectively ended Fielding's career as a dramatist. After this he embarked on a career in the law and was called to the Bar in 1740, but had little success as a barrister. In 1734 he married Charlotte Cradock, the model for Sophie Western and also for the heroine of his last novel, Amelia (1751).
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