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• W314372452 abstract "In connecting the aesthetics of empiricism and the rise of the novel, I do not intend to put forward a new theory of how and when the novel was born. An article is hardly an appropriate place for such an enterprise. (1) What I want to do is simply to point out certain similarities, a common ground of research shared by the first novelists and by some philosophers and critics of the time. It is my intention to show how their inquiries led to the formulation of certain significant questions and the gradual emergence of answers displaying kinship with the narrative forms and human experience underpinning the great tradition of the nineteenth-century novel. In suggesting a link between novelists and philosopher-critics, however, I do not seek to assign temporal precedence, being indeed convinced that in this case investigations as to who said or did what first--philosophers, critics or actual practitioners--will not take us very far. Such questions arise in areas that are partly impervious to awareness and stem from man's feelings about himself and his actions. It will therefore be primarily for the sake of organizing my argument if I do assign precedence in the odd case, unravelling connections between the assertions of philosophers and artists where such questions work their way into the concepts and language of tradition. At first sight, the similarities and common aims are not noticed, partly because the overall homogeneity is concealed by differences in context and terminology, partly because the novelists and philosopher-critics themselves do their utmost to throw the reader off the scent by doggedly ignoring one other. When Fielding and Sterne discuss narrative order, unity, digression, effects on readers, and on their emotions, they not only choose not to adopt the same language as Shaftesbury, Hume, and Kames on what are often the same questions, but do not even mention these philosophers. They refer to the epic, to seventeenth-century French narrative and, of course, to Aristotle, Horace, and Longinus. Among the moderns, only Locke and Addison are mentioned, but in other connections. For their part, the philosophers prove equally ungracious, drawing all their examples from the ancient epic, or at most from Milton and from history, again preferably ancient. Nevertheless, when Fielding opens Tom Jones with his bill of fare, comparing himself to an innkeeper called upon to show prospective customers the menu so that they can decide whether to stop at his establishment, he clearly adopts a different perspective from that of neoclassicism. He does not look at the work itself, at rules making it objectively good, but at its relationship with the reader. The writer-innkeeper now observes his customer-readers and enters into their minds in order to understand how they work, to manipulate them, to arouse emotion. In his attention to effects produced on the subject, Fielding thus adopts the same viewpoint as the aesthetics of empiricism. The philosopher-critics in turn put on a fine show of not knowing contemporary writers and take their examples exclusively from authors of the distant past, only to let their dissatisfaction with these very authors then emerge in their distribution of vague praise and precise criticism. It is as though they mentioned them as accredited by tradition but remained in actual fact indifferent to their noble lineage, to the periwigs and brocade; as though they had the living substance of different but unpresentable models in mind. The question that some British empiricists and the first novelists ask themselves is in point of fact the same. They share the same curiosity. They ask: what happens in a man's head when he reads? The new eighteenth-century novel is a reply to this question. In the seventeenth century, discussion regarding the problems of narrative prose took place primarily in France, while in England writers such as Dryden and Davenant took some cautious steps along a path that was already clearly demarcated. …" @default.
• W314372452 created "2016-06-24" @default.
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• W314372452 date "2000-06-22" @default.
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• W314372452 title "The Asethetics of Empiricism and the Origin of the Novel" @default.
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