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William Beatty Warner - Licensing entertainment: the elevation of novel reading in Britain, 1684-1750

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Novels have been a respectable component of culture for so long that it is difficult for twentieth-century observers to grasp the unease produced by novel reading in the eighteenth century. William Warner shows how the earliest novels in Britain, published in small-format print media, provoked early instances of the modern anxiety about the effects of new media on consumers.Warner uncovers a buried and neglected history of the way in which the idea of the novel was shaped in response to a newly vigorous market in popular narratives. In order to rein in the sexy and egotistical novel of amorous intrigue, novelists and critics redefined the novel as morally respectable, largely masculine in authorship, national in character, realistic in its claims, and finally, literary. Warner considers early novelists in their role as entertainers and media workers, and shows how the short, erotic, plot-driven novels written by Behn, Manley, and Haywood came to be absorbed and overwritten by the popular novels of Defoe, Richardson, and Fielding. Considering these novels as entertainment as well as literature, Warner traces a different story--one that redefines the terms within which the British novel is to be understood and replaces the literary history of the rise of the novel with a more inclusive cultural history.

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title Licensing Entertainment The Elevation of Novel Reading in Britain - photo 1

title:Licensing Entertainment : The Elevation of Novel Reading in Britain, 1684-1750
author:Warner, William Beatty.
publisher:University of California Press
isbn10 | asin:0520212967
print isbn13:9780520212961
ebook isbn13:9780585079448
language:English
subjectEnglish fiction--18th century--History and criticism, Popular literature--Great Britain--History and criticism, English fiction--Early modern, 1500-1700--History and criticism, Books and reading--Great Britain--History--17th century, Books and reading--Gr
publication date:1998
lcc:PR858.P68W37 1998eb
ddc:823/.409
subject:English fiction--18th century--History and criticism, Popular literature--Great Britain--History and criticism, English fiction--Early modern, 1500-1700--History and criticism, Books and reading--Great Britain--History--17th century, Books and reading--Gr
Page iii
Licensing Entertainment
The Elevation of Novel Reading in Britain, 16841750
William B. Warner
University of California Press
BERKELEY LOS ANGELES LONDON
Page iv
University of California Press
Berkeley and Los Angeles, California
University of California Press, Ltd.
London, England
1998 by
The Regents of the University of California
Library of Congress Cataloging-in-Publication Data
Warner, William Beatty.
Licensing Entertainment: the elevation of novel reading in Britain,
16841750 / William B. Warner.
p. cm.
Includes bibliographic references and index.
ISBN 0-520-20180-9 (alk. paper).ISBN 0-520-21296-7 (pbk.:alk.
paper)
1. English fiction18th centuryHistory and criticism. 2.
Popular literatureGreat BritainHistory and criticism. 3. English
fictionEarly modern, 15001700History and criticism. 4. Books
and readingGreat BritainHistory17th century. 5. Books and
readingGreat Britain18th century. 6. Literature publishing
Social aspectsGreat Britain. 7. Literature and SocietyGreat
BritainHistory. 8. Authors and readersGreat Britainhistory. 9.
Literary form. I. Title. PR858.P68W37 1998
823'.409DC2197-30171
Printed in the United States of America
9 8 7 6 5 4 3 2 1
The paper used in this publication meets the minimum requirements of American National Standard for Information SciencesPermanence of Paper for Printed Library Materials, ANSI Z39.48-1984.
Page v
For Lizzie
Page vii
Contents
Acknowledgments
ix
Preface: From a Literary to a Cultural History of the Early Novel
xi
1. The Rise of the Novel in the Eye of Literary History
1
2. Licensed by the Market: Behn's Love Letters as Serial Entertainment
45
3. Formulating Fiction for the General Reader: Manley's New Atalantis and Haywood's Love in Excess
88
4. The Antinovel Discourse and Rewriting Reading in Roxana
128
5. The Pamela Media Event
176
6. Joseph Andrews as Performative Entertainment
231
Conclusion: The Freedom of Readers
277
Appendix: Chronology of the Pamela Media Event
295
Works Cited
297
Index
311

Page ix
Acknowledgments
For fellowship and sabbatical support in the early stages of research for this book, as well as in the later stages of writing it, I would like to thank the American Council of Learned Societies, the Clark Memorial Library in Los Angeles, and the State University of New York at Buffalo. The many friends and colleagues who have helped me with their critical advice over the years include Paula Backscheider, John Bender, Toni Bowers, Bob Erickson, Bill Graebner, Deidre Lynch, Paula MacDowell, John Richetti, and Everett Zimmerman. During the final stages of revision, I received invaluable advice from my teacher, Ronald Paulson. For expert help in manuscript preparation, I would like to thank Bob Devens. Lastly, my deepest debt goes to my most insightful and exacting critic, my wife, Elizabeth MacArthur.
For permission to reprint those parts of this book that appeared as articles or chapters in books, I would like to thank Columbia University Press (chapter 1); Duke University Press (chapter 3); and Johns Hopkins University Press (chapter 5).
Page xi
Preface
From a Literary to a Cultural History of the Early Novel
In Licensing Entertainment I rewrite the literary history of the novel so that it becomes a subset of the cultural history of print entertainments. I started this study by pursuing a familiar question from literary history: How did the novel rise to become the dominant modern literary form? But I located my answers by going outside the boundaries of literary studies, so as to study an other-than-literary scene of cultural production and consumption. Thus, before the rise of the novel (as a literary form), novel reading emerged as a mode of entertainment. The feedback loop between a type of print medianovels in small-book formatand a practiceavid reading for pleasure, as this reading was supported by the market in printed booksintroduced into Britain an early instance of what I call "media culture."1 Because of the unease this print entertainment produced among the practitioners of an earlier, more intensive humanistic practice of reading, the onset of media culture mobilized profound ambivalence and resistance. In Britain this resistance took the form of the antinovel discourse that proliferated alongside novels on the market.
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