Henry Fielding

1. 1
Content
Introduction .............................................................................................. 3
Chapter 1. General information about Henry Fielding and main peculiarities
of the writer ........................................................................................
1.1. Life of Henry Fielding. Implicit portrayal of H. Fielding as a parody writer.7
1.2. Criticism of Fielding's epistolary novel An Apology for the Life of Mrs.
Andrews .......................................................................................... 11
1.3. Biographical background of Henry Fielding’s parodies on Samuel
Richardson’s novels .......................................................................... 17
Chapter 2. Hardworking and successful Samuel Richardson and his
professional literature career ..............................................................
2.1. Samuel Richardson as a professional novelist. The author’s own writing
style .........................................................................................................23
2.2. What is parody? Requirements and main peculiarities of writing parody...27
Conclusion ...............................................................................................31
List of used literatures............................................................................... 33
Introduction

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Literature plays a huge in a literate person’s life especially World Literature.
Each student or graduator of even bachelor degree should have deep education
about at least the world literature. As the students of philology direction we also
learn both English and American literature. In our research we clarified life and
literary career of two English writers who are Henry Fielding and Samuel
Richardson. While reading the course paper a reader will gain the knowledge about
the private and professional life of the two writers.
The theme of our course work is Henry Fielding’s parodies on Samuel
Richardson’s novels.
According to the core idea of the research we appointed an aim which is
going to be our destination. The aim is to analyze and identify H. Fielding’s
parodies which is written on novels by Samuel Richardson. Partially, we indicated
at lives of the authors as well.
The subject matter of our course work is devoted to analyzing parodies and
specific peculiarities of writing style of Henry Fielding. As our research includes
Samuel Richardson’s career as well, the required aspects is filled by the
information of the novelist.
As the actuality of the course paper is shown in the main part. We also
eager to mention that literature is and was an actual subject matter of all time.
Especially masters such as H. Fielding and S. Richardson’s works are always
considered as best sellers. In this case we decided to analyze the career of the
authors. Undoubtedly the research is an important educationally as well as
upbringing.
Here we appointed several tasks below in order to get results from our
course paper.
To obtain general and peculiar facts about the above mentioned
authors.

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To identify the specificity of Henry Fielding’s parodies and analyze
actuality of the topics.
To compare original novel (by S. Richardson) and its parody with a
scientific approach.
To analyze style of Henry Fielding and clarify its main peculiarities.
The novelty of the course paper is as clear as sunshine. The reason for this is
masterpieces by the authors. Even the simplest information is given as an
interesting fact and a reader might get hardly bored of the research. We did our best
in order to reach the destination which was made at the beginning stage of course
paper.
As the course paper consists of full information collected from reliable and
various sources an experienced reader can easily face both theoretical and practical
value.
As a theoretical value of the research we can mention that this work
includes large amount of information which is chosen attentively and one by one.
Additionally this course paper can be easily used instead of a book as a study
material.
The practical value of this course paper can be seen in the wide usage,
peculiarities of Henry Fielding’s works. Moreover, it would be the great assistance
to have and fresh examples on the Contemporary English Literature for students to
write independent works on that theme. This work can be used as a material
in teaching literature, to develop general education background motivates
students to read great works of Henry Fielding.
In this work there were used the following methods of linguistic
analysis: word’s definitions analysis, contextual-situation and text analysis for
revealing its significant place in Samuel Richardson’s works.

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This course paper consists of Introduction, which serves like an
opening to the whole work, its main part chapters, where these each
chapters include paragraphs.
As a beginning stage of the research we have chosen a short introduction
which is necessary to be read. Here we wrote a bit general about the course work.
Main part consists of two chapters and each chapter includes several
paragraphs in itself.
We entitled the first chapter General information about Henry Fielding
and main peculiarities of the writer.
The first paragraph of chapter one is named Life of Henry Fielding.
Implicit portrayal of H. Fielding as a parody writer. We filled this part of the
course paper with full depiction of Henry Fielding. From his early life until the
period of writing Shamela. We also considered that it would be useful to give
information about the period in the World Literature and curiosities of H. Fielding.
Additionally we wrote about vital impacts influenced by parents and religion to the
writer.
In the second paragraph one can find the whole needed information about
Shamela since we devoted this aspect fully to the H. Fielding’s parodies. We also
considered that it would be effective a biographical information of the novel, its
major characters, plot of the parody and critical review which was written by
ourselves. As parody was written on Samuel Richardson’s novel we also
mentioned some facts about the literary career and works the writer. In this
paragraph an experienced reader can find out extra facts about the life of Henry
Fielding.
In the third paragraph of this chapter is mostly devoted to define the
comparison between Pamela and Shamela. Although the two authors writing style
is quite different from each other’s we were able to find out some resembles. We
tried to draw more attention to Henry Fielding’s work as a result we quoted more
from Shamela rather than Pamela. One can easily discover citation from parody
and citation from original novel with no tips.
two

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Chapter two is about Hardworking and successful Samuel Richardson and
his professional literature career.
The first paragraph of this chapter entitled as Samuel Richardson as a
professional novelist and the author’s own writing style. Firstly here we brought
information about the author’s private life after which the text was continued with
the topic about Samuel Richardson’s literary career. As Richardson’s Pamela is
often credited with being the first English novel we could not continue our research
without the words on this topic. Appropriately, we also gave information about the
contemporary period of European Literature.
The second and the last paragraph of main part is devoted to theoretical
case. Here below we decided to give information the parody itself. We considered
that for the reader who is able to deal with course papers there is no need to depict
what is parody. But at the end taking into account that the research might be read
by other users we made a decision to define the word parody itself.
“All in all every start has its own finish”. After the main body we have
written a brief conclusion where we added necessary information from reliable
sources as well as our modest critical review. We considered it would be useful to
share it with professor-teachers as well as students.
The list of used literature is based on internet sources along with published
book, magazines and newspapers.
Chapter 1. General information about Henry Fielding and main peculiarities
of the writer.

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1.1. Life of Henry Fielding. Implicit portrayal of H. Fielding as a parody
writer.
Henry Fielding was born in 1707 into a family that was essentially
aristocratic. His mother's father was a justice of the Queen's Bench, while his
paternal grandfather was an archdeacon of Salisbury; in these two men there may
have been something of the genesis of Fielding's bent toward the law, his great
love of learning, and his firm sense of Christian morality. Fielding's father, Sir
Edmund Fielding, a colonel of aristocratic descent, married Sarah Gould in 1706; it
was a "runaway" marriage, and the sober Henry Gould excluded Sir Edmund from
the estate which he left his daughter. When Sarah died in 1718, Fielding's father
entered into a long battle with the maternal side of the family over the estate. What
there was of the rake in his father was inherited by Fielding; their spirit is that of
Tom Jones, whose isolation when young also reflects the early death of Fielding's
mother and the ensuing divisions in the family. Both Joseph Andrews and Tom
Jones portray a young man on the move until he is brought to a secure standstill by
the revelation of his true identity.
After attending Eton College, where he was exposed to the classical authors
he came to love so much, Fielding joined his father in London and, in 1728, wrote
his first play; nearly thirty more were to come from his pen in the next nine years.
This was the period when the rake was to the fore in his character; the dismal
account of Mr. Wilson's dissipations1
in London represents a stern warning from an
experienced Fielding about the dangers of city life. Before the city completely
enveloped him, however, Fielding spent a short spell abroad at the University of
Leiden in Holland. He returned to London in the fall of 1729. It was not a time of
great theater, but there was much material for parody and satire, and Fielding
1
JosephAndrews, Book III, Chapter 3
exercised his talents with such verve, particularly in the political field, that in 1737
the harassed Prime Minister, Sir Robert Walpole, introduced a Theatrical Licensing

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Act. Fielding wrote no more for the stage, but his novels are richer because of his
experience as a playwright. The incidents of burlesque humor in Joseph
Andrews, the concealment scenes in Tom Jones,and the authentic patterns and
rhythms of dialogue attest to Fielding's theatrical background.
At a loss for a job, Fielding took up the study of law at the Middle Temple five
months after the passage of Walpole's Licensing Act. With his outlet for
playwriting quelled, Fielding had to support himself somehow, for he had married
Charlotte Craddock2
in 1734, and they were always short of money. From
playwriting Fielding turned to journalism. From 1739 to 1741 he edited a
satirically political newspaper, The Champion; the writing is quite admirable, and
we can see a more serious Fielding emerging as the issues of the day come under
his scrutiny.
In 1740, Fielding was called to the Bar, but success as a magistrate lay far in
the future; at this time, chance joined hands with Fielding's rich experience as a
dramatist and a journalist to change the course both of his own life and that of the
novel; in 1740, Samuel Richardson published Pamela, or Virtue Rewarded. The
novel was an immediate success — with almost everyone but Fielding. Fielding
objected to the discrepancy between the expressed morality of "virtue rewarded"
and the sexual content in the novel. Perhaps because he was poor and had two
young children to provide for, he decided to try and make some money with a
parody of Pamela. Whatever the reason, in 1741, he published his riotous and
bawdyAnApology for the Life ofMrs. ShamelaAndrews. In it, Shamela is a fortune
hunter who uses her virtue in a thoroughly lecherous and mercenary way. The
theme is one of disguise and pretense, and it is just this theme which is continued
in JosephAndrews, published in 1742.
The years surrounding the publication of JosephAndrews were hard ones for
2
(Charlotte, critics believe, was almost certainly the model for Fielding's portraits of the ideal woman: Amelia, Sophia, and, from Joseph Andrews, possibly Fanny
Goodwill and Mrs. Wilson.)
Fielding. The death of his father in June 1741, left him sorrowful, and none the
richer, and in March of 1742 his favorite daughter died. In June 1741, Fielding also

8. 8
severed his connection with The Champion; his disaffection with the Patriots, 0as
they were called, is perhaps reflected in his comments on "patriotism" in Joseph
Andrews3
. As a result of his literary and political notoriety, it was difficult for
Fielding to get ahead in the legal profession, and his last two novels, Tom
Jones andAmelia, occasionally reflect the anguish of a man who knows that he has
brought wretchedness and poverty to the woman he loves. Yet if Fielding could not
get money by practicing law, he did use the subject of law in his writing; Jonathan
Wild, which was published in 1743, is filled with biting accounts of the grotesque
malpractices in the system of criminal law. In 1744, Fielding's wife died and, for a
time, Fielding's friends thought that he would lose his mind. But he took up his
political pen again and wrote for the anti-Jacobite journal, The True Patriot. In
1747, he married Mary Daniel, who had been a maid to his wife and had shared his
grief when Charlotte died. From this time, his fortunes began to brighten. In 1748,
he was appointed Justice of the Peace for Westminster and, subsequently, he was
made magistrate of all Middlesex, and in 1749 Tom Jones appeared. The concept
of good nature which played such an important part in Joseph Andrews is also
central to this novel. At one point, Squire Allworthy comments that Tom, despite
his many misdemeanors, has a heart of gold: "I am convinced, my child, that you
have much goodness, generosity, and honor, in your temper: if you will add
prudence and religion to these, you must be happy." One is never quite convinced
that Tom becomes either prudent or religious, but the happy ending illustrated that
Fielding the artist is again practicing the positive outlook he advocates. Tom and
Sophia are optimistically left to "preserve the purest and tenderest affection for
each other, an affection daily increased and confirmed by mutual endearments, and
mutual esteem."
This optimism is hardly the case with Captain and Mrs. Booth in Amelia (1751).
3
Book II, Chapter 9
Captain Booth's weaknesses are an echo of Fielding's own, while Amelia, with her
tolerance, patience, and love, is probably another portrait of Fielding's first wife,

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Charlotte. At one point, Amelia, having made her husband a dish of hashed mutton
for his supper, feels thirsty, but denies herself half a pint of wine to save sixpence,
"while her husband was paying a debt of several guineas, incurred by the ace of
trumps being in the hands of his adversary." Amelia is clearly a nearly perfect
heroine and glows with a tender warmth against the grim descriptions of life in
Newgate prison, where Captain Booth is committed at the beginning of the book.
His rescue by Miss Matthews, an elegant courtesan, is a continual irritant, but
Fielding eventually rescues the Booths from their domestic difficulties with the
discovery that Amelia is an heiress. This turn of events, however, does not
obliterate the harsh details of Newgate and London society which permeate the rest
of the book. Henry Fielding's three best novels, it has been said, are all composed
of a certain "fluctuation from assent to refusal."
Fielding's health was not good; he was terribly overworked and, in the
summer of 1754, he went by sea to Lisbon with his wife and daughter. Though the
voyage resulted in a diary published posthumously as A Journal of a Voyage to
Lisbon, the quest for good health was in vain; he died on October 8, 1754, at the
age of forty-seven.
2.2. Criticism of Fielding's epistolary novel An Apology for the Life of Mrs.
Shamela Andrews.
The following entry presents criticism of Fielding's epistolary novel An
Apology for the Life ofMrs. Shamela Andrews.
Hailed by Sheridan Barker as the “best parody in English literature,” Henry
Fielding'sShamela is the best known of a number of novels written in the 1740s
that satirized Samuel Richardson's hugely popular 1740 novel, Pamela. Fielding's
sixty-page book condenses and imitates Richardson's two-volume epistolary novel,
poking fun at the original work's narrative method and pretense at moralizing. The
heroine of Pamela is a paragon of virtue, a servant girl who resists the sexual

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advances of her master, and Richardson's purpose with the novel was to “cultivate
the Principles of Virtue and Religion in the Minds of the Youth of Both Sexes.”
Fielding's heroine Shamela, on the other hand, is an artful minx who uses her
“Vartue” to rise in the world. By poking fun at every aspect of Richardson's
method and message, Fielding exposes the hypocrisy of contemporary mores. The
work is more than a simple parody of Richardson, however, as Fielding lampoons
political figures, the clergy, and contemporary writers. Shamela also marked a
turning point in the modern novel, as it prepared the way for Fielding's more
complex and ambitious work, Joseph Andrews, which launched the tradition of
comic fiction in English literature.
Biographical Information of the parody
Although Fielding had published a number of plays, poems, and essays by
1741, he was struggling financially. His theatrical career had come to an end in
1737 because of the controversy stirred up by his dramatic satires, and that year he
began preparing to qualify as a barrister in order to support his family. He also took
on translation work and in 1739 launched a newspaper, the Champion, for which
he wrote a number of essays that satirized politics, law, literature, religion, and
government. As he inveighed against all manner of societal excesses and
corruption in the Champion, Fielding was in fact preparing himself for the pointed
satire that was to come in Shamela. In 1740, three books appeared that particularly
irked Fielding. In addition to Richardson's Pamela, there was An Apology for the
Life of Colley Cibber, a book full of grammatical mistakes and misused words, and
Conyers Middleton's Life of Cicero, which was obsequiously dedicated to Prime
Minister Robert Walpole's Privy Seal, Lord Hervey. Shamela satirizes all three of
these works by imitating their content and style. In early 1741 when Fielding found
himself in a “sponging house” because of his debts, he dashed off the manuscript
of Shamela, which he published anonymously. Richardson suspected that Fielding
was the author of the parody, and never forgave him. A year later Fielding would
publish JosephAndrews, which inaugurated his career as a novelist.

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Plot and Major Characters
Fielding takes special care to parody even the smallest details of
Richardson's work, and the form of Shamela closely follows that of Pamela. The
novel is introduced by the “author,” one Conny Keyber4
who claims he presents
the “authentick Papers” of the heroine of Richardson's novel. Keyber dedicates his
work to “Miss Fanny,” a parody of Middleton's dedication to the supposedly
effeminate Lord Hervey. He also includes letters to the editor congratulating him
on his fine work, just as Richardson had appended letters in praise of his novel to
his second edition of Pamela. The novel begins with a letter from the gullible
Parson Thomas Tickletext, who, overcome by the loveliness of Pamela, writes to
his friend, Parson J. Oliver, enthusiastically recommending the novel. Oliver,
however, has in his possession certain letters that reveal the true nature and history
of Richardson's heroine. Oliver explains that Pamela's name is actually Shamela
and transmits her authentic correspondence. There follows a series of letters
written between the various characters in the novel: Shamela; her unwed mother,
4
(a combination of the names of the writers Conyers Middleton and Colley Cibber),
Henrietta Maria Honora Andrews; Squire Booby, the master of Booby Hall;
Booby's housekeeper and Shamela's confidante, Mrs. Lucretia Jervis; Booby's
more loyal housekeeper, Mrs. Jewkes; and the Reverend Arthur Williams. The
letters reveal that Shamela, formerly a servant in Booby's household, becomes his
wife by supposedly resisting his attempts to seduce her and flaunting her “Vartue.”
She has done this with the help of Mrs. Jervis, who pretends to help Booby to win
Shamela but who actually aids Shamela in her designs on his worldly goods. In the
meantime Shamela has an affair with Reverend Williams, which according to
Parson Oliver, is eventually found out. Events and characters in the novel
parallel Pamela,but things are seen in a very different light, with Parson Williams

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appearing as a scheming rogue, Mr. Booby as a fool, and Pamela as a calculating
hussy.
Major Themes
As a parody of Pamela, Shamela aims to overturn what Fielding considered
to be the sententious moralizing of Richardson's novel. Richardson claims that
Pamela is a model of virtue, whose chastity is rewarded, but Fielding in his novel
equates morality with expediency, as Shamela behaves as she does in order to
secure material comforts for herself. Throughout the novel Shamela uses words
such as “feign,” “act,” and “pretend.” She tempts Booby but pretends to do so
unwittingly, thus retaining her virtuous image, resisting him in order to appear
virtuous and lure him into marriage and elevate herself socially. Shamela is not the
virtuous woman Richardson supposes but rather a calculating, conniving creature.
While Fielding parodies Richardson's views on morality and virtue, at the same
time he presents his own moral message about hypocrisy and feigned goodness.
His criticism of hypocrisy extends also to the clergy (represented by Parson
Williams), the gentry (in Squire Booby), and the political establishment. The theme
of faith versus good works is also explored in the character of the parson. Fielding
with his novel attacks corruption on many levels, from the perversion of language
to the exploitation of the nature of decency and uprightness for political purposes.
Fielding published Shamela anonymously, but upon its publication he was
widely suspected as being the author of the parody. Because of the enormous
success of Pamela, Fielding's burlesque enjoyed considerable notoriety, and indeed
it spawned several other, lesser satires of Richardson's novel. Shamela was hardly
a critical success upon initial publication, however, and it was not only until the
early twentieth century that scholars began taking it seriously as a work of
literature. Early discussions of the novel centered on its authorship, and it was not
until the 1950s that Fielding's authorship of Shamela was established. Subsequent
analyses have explored issues such as the nature of Fielding's parody; the work's

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complex, multi-layered satire of contemporary values and politics; the similarities
and differences between Shamela and Pamela; the anticipation in the novel of
themes elaborated upon in Joseph Andrews; the satire's concern with sexuality,
gender, literacy, and class; the idea of authenticity; and Fielding's political
attitudes.
Reading Samuel Richardson’s novelPamela, Or, Virtue Rewarded, as we
recounted in my previous review of it, is not for the faint of heart; but we are
happy to say that it was all made worthwhile just this past week as we listened to a
Naxos AudioBooks recording of Henry Fielding’s masterful parody fittingly
entitled Shamela. Many know Fielding for Tom Jones, but his satirical powers are
at full and outrageous height in Shamela. In a quarter of the number of pages found
in the original story, Fielding highlights and lampoons all of Richardson’s
characteristic tropes, transforming Miss Pamela Andrews from a paragon of female
virtue into an archetypical scheming hussy. The great irony is that, as shamefully
vicious as Shamela maybe, she is a great deal more fun to listen to than her saintly
prototype.
Central to Richardson’s sentimental plot was Pamela’s virtue. By virtue,
readers must understand two things: her honesty and her virginity. Understandably,
Pamela insists on protecting these, since they are her only means for attracting a
worthy and, hopefully, wealthy suitor. Because these two meanings of virtue are at
the heart of the conflict in Pamela, Fielding places them squarely at the heart of his
comedic retelling. Shamela, as her name implies, is anything but honest. In her
letters to her mother, she makes it plain that her every action toward Squire Booby
(Mr. B’s new name) is aimed at provoking the young man’s sexual passion as a
means to coerce him into marriage. Accordingly, her protestations against that
gentleman’s sexual advances, while they mirror Pamela’s, are all pretense. She
would like nothing better than for her employer to seduce her, but not before she
secures a share of his fortune for herself. As she tells Mrs. Jervis: “…Fellows have
often taken away in the Morning, what they gave over Night. No, Mrs. Jervis,

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nothing under a regular taking into Keeping, a settled Settlement, for me, and all
my Heirs, all my whole Liftetime, shall do the Business–or else crosslegged, is the
Word…”. Of course, as the quote with which we opened this review indicates,
Shamela is no virgin anyway!
As you might have guessed, Pamela is not the only character whose
personality Fielding changes for comedic effect–all the major characters are the
opposite of their originals. Mr. B is a fool, Mr. Williams is a lascivious skamp,
Mrs. Jervis is a coconspirator, and, best of all, Pamela’s parents are low-class trash.
Indeed, while the original Pamela’s father writes ad nauseum to his daughter about
her Christian duty, Shamela’s father is serving time in prison. And Shamela’s
mother is little better. Readers are told she “sold Oranges in the Play-House,” a not
so subtle way to say she was a prostitute.
In fact, Shamela’s mother–whose regal name, Henrietta Maria Honora
Andrews, belies her tawdry lifestyle–steals this story’s spotlight, for it was her
corrupting influence that produced Shamela. As a result, Shamela repeatedly
articulates pithy proverbs of vice in her letters to her mother, as if to illustrate just
how well she has been schooled. For example, she writes, “What a foolish Thing it
is for a Woman to dally too long with her Lover’s Desires; how many have owed
their being old Maids to their holding out too long”. When things go sour between
mother and daughter, however, the result is a venomous act of retaliation on the
part of Mrs. Andrews: the publication of her daughter’s letters–an act to which we
owe Fielding’s “corrected” version of events.
Since Richardson’s Pamela was aimed at didactically preaching the rewards
of virtue, then Fielding’s parody presumes to take the same stance, mocking the
original Pamela for its sexual lewdness, its rather scathing portrayal of the vices of
the upper class, and its encouragement of disobedience in servants.
Ironically, however, the two authors actually manage to achieve the same
end–the condemnation of hypocrisy–just through very different means: Richardson

15. 15
through sentimentalism, Fielding through satire. Fortunately, Jane Austen was a fan
of both authors, and she perfectly combines and tempers, sentimentalism and satire
in her novels by adding a healthy portion of realism. True, her early short works
like “Love and Friendship” and “Lesley Castle” lean more toward the absurdities
of Fielding, but by Lady Susan, she has already learned to soften her satire with
realism, making it clear she supports virtue and condemns vice, but not at the cost
of her sense of humor. She, like Fielding, enjoys a good laugh at the follies of
others, but that is because she doesn’t like to take herself or others too seriously.
After all, the ability to laugh was just as important to the Austen family as the
ability to pray.
That said, I highly recommend the audio recording of this hilarious work,
which I award five bright stars. After listening to Pamela, you will laugh out loud
when you hear the same voices transform their accents, grammar, and diction,
bringing to life the scandalous characters and conflicts that make Shamela an
impressive example of parodic humor.
2.2. Biographical background of Henry Fielding’s parodies on Samuel
Richardson’s novels.
In this paragraph we have reached Richardson’s novel Pamela, or virtue
rewarded, the sole novel on this course’s reading list. For those who have not gone
through the reading experience themselves, we will first introduce you shortly to
the main narrative and the most important themes in this novel. A few key
elements will be more elaborately discussed further and we hope we can convince
every one of the novel’s highly dubious status concerning its moral.
The protagonist of Pamela, or virtue rewarded is Pamela, a fifteen year old
servant who shares her life-story through letters and diary entries. The main
narrative deals with Mr. B who tries to seduce Pamela, but she shows

16. 16
determination to refuse him. The novel is correctional and Mr. B evolves to finally
propose marriage to Pamela, thus having gained an interest in both her mind and
body, rather than merely her body. Pamela then attempts to adapt to high society
and builds up a successful relationship with her husband. There are a number of
themes we can distinguish in the novel, the most important ones are love, virtue,
money, gender and class distinctions.
Different notions of love are distinguished in this ‘love story’. Pamela engages in
familial love towards her parents, in her letters and continuously throughout her
writing. Sisterly love is found between Pamela and Mrs. Jervis, who share a deep
friendship. The false love of Mr. B for Pamela finally transforms into true love
hereby granting a ‘fairy-tale-ending’.
Pamela is above all very much concerned with the preservation of her virtue,
which she keeps on repeating constantly. While Mr. B wants to fulfill his ‘needs’,
Pamela continues to refuse any offers of money or goods in exchange for sexual
pleasures, therefore keeping herself virtuous. The moral of the novel would be that
this virtuous behaviour turns out to be rewarded, since Mr. B loves Pamela all the
more for her consistency in the end.
The notion of money in the novel is very ambiguous. We most certainly link
this to Mr. B who tries to persuade Pamela to give up her virtue in return for
money, clothes and jewelry, and furthermore bribes and manipulates everyone else
around him. However, Pamela’s attitude towards money and material objects in
general is not always straightforward.
Pamela is continuously stressing how poor her parents are which supposedly
prides her. This sharply distinguishes her from her master, who is evidently better
off. Between the two there is an enormous gap, since their class differences
separate them. The gender difference complicates their relationship even further
since Pamela is powerless in comparison to her master.

17. 17
The first two editions of Pamela were published anonymously. The title page
stated Richardson to be the printer of the book – he was a successful printer and
printed all his own novels – but the letters were supposedly found and edited by an
anonymous editor. This contributed to the alleged authenticity of the letters as a
“found manuscript” and constituted the figure of Pamela as a soap opera-like
character that people could really identify with. Since she was put forward to be
an example of good behaviour and virtue, it was necessary that as many readers as
possible could identify with her. When Pamela was first published, however, it not
only evoked a wave of admiration and swooning amongst its esteemed readers, it
also inspired a series of parodies and what were, according to Samuel Richardson,
misreadings of the novel. Richardson was unpleased to learn that part of his
audience doubted Pamela’s good intentions, her sincerity and even her virtue.
Highly upset about these interpretations of his work, Richardson edited the next
editions of Pamela. He continuously attempted to guide the reader through the
novel and control the conclusions that he thought should be drawn after reading
this work. He added a preface that stated which moral values the reader should
read into Pamela. He also enclosed a summary of the letters that the book consists
of, stressing the main issues they touch upon. Additionally, he altered the manner
of speech of the protagonist, Pamela, after having received comments that since
she was to be an example for young ladies, she should speak and write in a way
that was to be admired by everyone. All his attempts at controlling the readers’
interpretations were in vain: the interpretation of the novel remains a controversial
topic today.
Pamela’s letters serve as a catalyst to reform both the character of Mr. B and
the reader of the novel, who is supposed to evolve with Mr. B as he reads them.
Within the novel, these letters provide Pamela with a means to pour out her heart
and seek the much-needed guidance of her parents. She uses her letters as a
platform to record her true feelings and her version of the encounters between
herself and her the letters are items of both frustration and
master. To Mr. B

18. 18
admiration. He increasingly values Pamela, who wrote the letters, but is at the
same time slightly tormented by the fact that he cannot control what she writes.
When she is imprisoned, the letters evolve into diary entries. This symbolizes how
she increasingly loses freedom and is therefore forced to rely upon herself as an
authoritative figure more and more.
Pamela was intended to function as a communal code of conduct or, at
least, provide guidelines in terms of letter-writing. There seem to be a number of
problems in Pamela’s behaviour that indicate multiple possible interpretations of
the novel’s moral, therefore many works have been written as a response to
Richardson’s. Some of the works inspired by Pamela were probabilistic sequels,
whereas others gave proof of a mocking undertone. A well-known work in this
respect is An Apology for the Life of Mrs. Shamela Andrews, written by Henry
Fielding. Shamela was published less than a year after Richardson’s Pamela and
offers a satirical version of the latter. It represents the self-proclaimed real account
of the events which took place in the novel by Richardson. Shamela, which is
Pamela’s so-called real name, is said to be the actual seducer instead of Squire
Booby, who represents the character of Mr. B, such as is illustrated in the next
section:
(…) ‘thank your Honour for your good Opinion,’ says I and then he took me by the
Hand, and I pretended to be shy: ‘Laud,’ says I, ‘Sir, I hope you don’t intend to be
rude'; ‘no’, says he, ‘my Dear’, and then he kissed me, ’till he took away my breath
—-and I pretended to be Angry (…)5
By rewriting Richardson’s novel, Fielding reveals his frustrations with the
hypocrisy of the main female character. Pamela is represented as the very essence
of chastity and humility, but as becomes clear in Shamela, her behaviour is nothing
but false pretence. She projects a virtuous image of herself in order to seduce

19. 19
Squire Booby and climb the social ladder. In the introduction to Shamela, Fielding
explains what inspired him to write a satire:
An apology for the life of Mrs. Shamela Andrews. In which, the many
notorious falsehoods and misrepresentations of a book called ‘Pamela’ are exposed
and refuted; and all the matchless arts of that young politician, set in a true and just
light.
Pamela repeatedly feels the need to express her pride in respect to her
parents’poverty and her own virtuousness. According to her, poor living conditions
are to be preferred above selling one’s virtue to the highest bidder. What is strange,
however, is the frequency at which she repeats this matter over and over. She
regularly inserts people’s words of praise for herself and at times this
5
[Fielding, Book Shamela p (154)]
comes across as presumptuous such as the section below, which originates from
one of Pamela’s letters, illustrates:
(…)She told me I was a pretty wench, and that everybody gave me a very
good character, and loved me; and bid me take care to keep the fellows at a
distance; and said, that I might do, and be more valued for it, even by themselves.
(…)6
Another example of Pamela’s need to justify her actions and acquire praise
for them occurs at the moment when she is allowed to leave the house of her late
mistress. With her future life in mind, she divides her belongings into three piles.
One pile is consecrated to gifts of her former mistress, a second one consists of the
luxurious presents her master offered her and the final pile contains her own

20. 20
personal belongings. Almost dramatically Pamela declares that she cannot take any
objects from the first two piles with her and strongly emphasizes to be proud of her
poor origins. Despite her affirmed pride, she does take a few gifts with her for so-
called practical reasons. The reason why Pamela does not take more presents with
her seems to be her concern for what other people might think: ‘(…) for poor folks
are envious as well as rich (…)’7
.Furthermore, Pamela proves to be very
materialistic throughout the novel. She constantly stresses that here poor origins
and low status are something to be proud of, it appears as if she needs to convince
herself of that exactly. Her materialistic attitude is apparent in her behaviour
regarding clothes and appearance in general. On all occasions Pamela tries her very
best to wear the nicest clothes she thinks suitable for the occasion. Not only
nowadays do we consider her interestin fine clothing to be not so virtuous and
innocent at all, but Mr B implies that in those days her attitude was ambiguous too:
________________
6
Fielding, book Shamela p (128)
7
Fielding, book Shamela p(45)
‘who is it you put your tricks upon? I was resolved never to honour you again with
my notice; and so you must disguise yourself, to attract me, and yet pretend, like
an hypocrite as you are-’ ‘I beseech you sir,’ said I, ‘do not impute disguise and
hypocrisy to me. I have put on no disguise.’ ‘What a plague’ said he, for that was
his word, ‘do you mean then by this dress?’
The main cause of Pamela’s virtuous behaviour is her Christian upbringing.
God appears to be the only higher power to which she submits. Pamela claims that
her main concern is to remain chaste, so that her soul would not be lost. She
resolutely wards off Mr. B.’s impure intentions, which ultimately results in him
asking for her hand in marriage. However, as indicated there are some serious
flaws in Pamela’s behaviour that clash with religious ideals.

21. 21
The moral lesson to be deduced seems to be that chaste behaviour leads to a
marriage with a wealthy man. Pamela’s virtue is rewarded, because her master
realises the errors of his ways after reading her letters and starts developing
romantic feelings for her instead of mere lust. Nevertheless, the implied guidelines
are far from those in Christian faith. In Pamela the ultimate achievement seems to
be a beneficial marriage, whereas, in terms of religion, it would be to obtain a
place in heaven. Therefore it could be said that the intended morality of the story is
somewhat overshadowed by a materialistic fairy-tale-style ending, like Cinderella
but with a touch of Beauty and the Beast. Another anti-Christian element in
Pamela is to be found in a not always subtle sexual undertone. The sole purpose of
Mr. B.’s flirtatious actions towards his servant is to lure her into profligate
behaviour and despite the didactic purpose of inserting such behaviour, its presence
would be disapproved of by religious standards. According to Christianity, the
body is to be erased until marriage, after which sexuality should solely serve as a
means to procreation. To make matters worse, Pamela seems to be highly
concerned with wearing fine clothes in order to please her master, whom she still
occasionally compliments despite his initial vile behaviour. In short, the intended
morality in Pamela is at times ambiguous, because the authority of Pamela as an
example for virtue is repeatedly undermined. The faith she invests in God is not
represented in her strong wish to be accepted by members of the higher social
classes, nor in her materialistic tendencies.
Chapter 2. Hardworking and successful Samuel Richardson and his
professional literature career.
2.1. Samuel Richardson as a professional novelist. The author’s own writing
style.
Samuel Richardson, English novelist who expanded the dramatic
possibilities of the novel by his invention and use of the letter form (“epistolary
novel”). His major novels were Pamela (1740) and Clarissa (1747–48).

22. 22
Richardson was 50 years old when he wrote Pamela, but of his first 50 years
little is known. His ancestors were of yeoman stock. His father, also Samuel, and
his mother’s father, Stephen Hall, became London tradesmen, and his father, after
the death of his first wife, married Stephen’s daughter, Elizabeth, in 1682. A
temporary move of the Richardsons to Derbyshire accounts for the fact that the
novelist was born in Mackworth. They returned to London when Richardson was
10. He had at best what he called “only Common School-Learning.” The perceived
inadequacy of his education was later to preoccupy him and some of his critics.
Richardson was bound apprentice to a London printer, John Wilde. Sometime after
completing his apprenticeship he became associated with the Leakes, a printing
family whose presses he eventually took over when he set up in business for
himself in 1721 and married Martha Wilde, the daughter of his master. Elizabeth
Leake, the sister of a prosperous bookseller of Bath, became his second wife in
1733, two years after Martha’s death. His domestic life was marked by tragedy. All
six of the children from his first marriage died in infancy or childhood. By his
second wife he had four daughters who survived him, but two other children died
in infancy. These and other bereavements contributed to the nervous ailments of
his later life.
In his professional life Richardson was hardworking and successful. With
the growth in prominence of his press went his steady increase in prestige as a
member, an officer, and later master, of the Stationers’ Company (the guild for
those in the book trade). During the 1730s his press became known as one of the
three best in London, and with prosperity he moved to a more spacious London
house and leased the first of three country houses in which he entertained a circle
of friends that included Dr. Johnson, the painter William Hogarth, the actors Colley
Cibber and David Garrick, Edward Young, and Arthur Onslow, speaker of the
House of Commons, whose influence in 1733 helped to secure for Richardson
lucrative contracts for government printing that later included the journals of the
House.

23. 23
In this same decade he began writing in a modest way. At some point, he
was commissioned to write a collection of letters that might serve as models for
“country readers,” a volume that has become known as Familiar Letters on
Important Occasions. Occasionally he hit upon continuing the same subject from
one letter to another, and, after a letter from “a father to a daughter in service, on
hearing of her master’s attempting her virtue,” he supplied the daughter’s answer.
This was the germ of his novel Pamela. With a method supplied by the letter writer
and a plot by a story that he remembered of an actual serving maid who preserved
her virtue and was rewarded by marriage, he began writing the work in November
1739 and published it asPamela: or, Virtue Rewarded, a year later.
Most of the story is told by the heroine herself. On the death of Pamela’s
mistress, her son, Mr. B, begins a series of stratagems designed to end in Pamela’s
seduction. These failing, he abducts her and renews his siege in earnest. Pamela
preserves her virtue, and halfway through the novel Mr. B offers marriage. In the
second half Richardson shows Pamela winning over those who had disapproved of
the misalliance. Though the novel was immensely popular, Richardson was
criticized by those who thoughthis heroine a calculating minx or his own morality
dubious. Actually his heroine is a vividly imagined blend of the artful and the
artless. She is a sadly perplexed girl of 15, with a divided mind, who faces a real
dilemma because she wants to preserve her virtue without losing the man with
whom she has fallen in love. Since Richardson wrote the novel from Pamela’s
point of view, it is less clear that Mr. B’s problem arises from his having fallen in
love with a servant, who, traditionally, would have been merely a target for
seduction. In a clever twist, he is converted by her letters, which he has been
intercepting and reading. The author resolved the conflicts of both characters too
facilely, perhaps, because he was firmly committed to the plot of the true story he
had remembered. When the instantaneous popularity of Pamela led to a spurious
continuation of her story, he wrote his own sequel, Pamela in her Exalted
Condition (1742), a two-volume work that did little to enhance his reputation.

24. 24
By 1744 Richardson seems to have completed a first draft of his second
novel, Clarissa: or, The History ofa Young Lady, but he spent three years trying to
bring it within the compass of the seven volumes in which it was published. He
first presents the heroine, Clarissa Harlowe, when she is discovering the barely
masked motives of her family, who would force her into a loveless marriage to
improve their fortunes. Outside the orbit of the Harlowes stands Lovelace, nephew
of Lord M and a romantic who held the code of the Harlowes in contempt. In her
desperate straits, Clarissa appraises too highly the qualities that set Lovelace
beyond the world of her family, and, when he offers protection, she runs off with
him. She is physically attracted by if not actually in love with Lovelace and is
responsive to the wider horizons of his world, but she is to discover that he wants
her only on his own terms. In Lovelace’s letters to his friend Belford, Richardson
shows that what is driving him to conquest and finally to rape is really her
superiority. In the correspondence of Clarissa and her friend Anna Howe,
Richardson shows the distance that separates her from her confidant, who thinks
her quixotic in not accepting a marriage; but marriage as a way out would have
been a sacrifice to that same consciousness of human dignity that had led her to
defy her family. As the novel comes to its long-drawn-out close, she is removed
from the world of both the Harlowes and the Lovelaces, and dies, a child of
heaven. In providing confidants for his central characters and in refusing to find a
place in the social structure into which to fit his sorely beset heroine, Richardson
made his greatest advances over Pamela.He was determined, as his postscript
indicates, to write a novel that was also a tragedy.
Richardson’s third novel was his bow to requests for the hero as a good man,
a counter-attraction to the errant hero of Henry Fielding’s Tom Jones (1749).
Fielding had been among those who thought Pamela a scheming minx, as he had
shown in his parody An Apology for the life of Mrs. Shamela Andrews (1741). In
spite of Fielding’s critical praise of Clarissa and the friendship that later developed
between Richardson and Fielding’s sister, Sarah, Richardson never forgave the
author of what he stigmatized as “that vile Pamphlet Shamela.” In The History of

25. 25
Sir Charles Grandison (1753–54), he provides a hero who is a model of
benevolence. He faces little that a good heart cannot remedy and extricates himself
from the nearest thing to a dilemma that he has to encounter: a “divided love”
between an English woman, Harriet Byron, and an Italian, Signora Clementina. He
is saved for Harriet by the last-minute refusal of the Roman Catholic Clementina to
marry a firmly committed English churchman. The uneasy minds of Clementina
and Harriet are explored with some penetration, but Sir Charles faces nothing in
his society or within himself that requires much of a struggle. Furthermore, his
dilemma is not so central to the novel as were those of Pamela and Clarissa. He is
surrounded with a large cast of characters who have their parts to play in social
comedy that anticipates thenovel of manners of the late 18th century.
Richardson was an indefatigable reviser of his own work, and the various
editions of his novels differ greatly. Much of his revision was undertaken in
anxious, self-censoring response to criticism; the earliest versions of his novels are
generally the freshest and most daring.
Richardson’s Pamela is often credited with being the first English novel.
Although the validity of this claim depends on the definition of the term novel, it is
not disputed that Richardson was innovative in his concentration on a single
action, in this case a courtship. By telling the story in the form of letters, he
provided if not the “stream” at least the flow of consciousness of his characters,
and he pioneered in showing how his characters’ sense of class differences and
their awareness of the conflict between sexual instincts and the moral code created
dilemmas that could not always be resolved. These characteristics reappear
regularly in the subsequent history of the novel. Above all, Richardson was the
writer who made the novel a respectable genre.
Richardson had disciples when he died. Some of them show the influence of
Clarissa, which seems to have been most responsible for the cult of Richardson
that arose on the European continent. It was Grandison, however, that set the tone
of most of Richardson’s English followers and for Jane Austen, who was said to

26. 26
have remembered “every circumstance” in this novel, everything “that was ever
said or done.” By the end of the 18th century, Richardson’s reputation was on the
wane both in England and abroad. It was reborn in the late 20th century, however,
and Clarissa is now widely admired as one of the great psychological novels of
European literature.
2.2. What is parody. Requirements and main peculiarities of writing
parody.
According to Aristotle, Hegemon of Thasos was the inventor of a kind of
parody; by slightly altering the wording in well-known poems he transformed the
sublime into the ridiculous. In ancient Greek literature, a parodia was a narrative
poem imitating the style and prosody of epics "but treating light, satirical or mock-
heroic subjects".[5]
Indeed, the components the Greek word are παράpara "beside,
counter, against" and ᾠδή oide "song". Thus, the original Greek word
παρῳδία parodia has sometimes been taken to mean "counter-song", an imitation
that is set against the original. The Oxford English Dictionary, for example, defines
parody as imitation "turned as to produce a ridiculous effect". Because par- also
has the non-antagonistic meaning of beside, "there is nothing in parodia to
necessitate the inclusion of a concept of ridickule". Old Comedy contained parody,
even the Gods could be made fun of. The Frogs portrays the hero-turned-
god Heracles as a Glutton and the God of Drama Dionysus as cowardly and
unintelligent. The traditional trip to the Underworld story is parodied as Dionysus
dresses as Heracles to go to the Underworld, in an attempt to bring back a Poet to
save Athens.
Roman writers explained parody as an imitation of one poet by another for
humorous effect. In FrenchNeoclassical literature,parody was also a type of poem
where one work imitates the style of another to produce a humorous effect.
The Ancient Greeks created satyrplays which parodied tragic plays, often with
performers dressed like satyrs.

27. 27
In the 20th century, parody has been heightened as the central and most
representative artistic device, the catalysing agent of artistic creation and
innovation. This most prominently happened in the second half of the century
with postmodernism, but earlier modernism and Russian formalism had anticipated
this perspective. For the Russian formalists, parody was a way of liberation from
the background text that enables to produce new and autonomous artistic forms.
Jorge Luis Borges's (1939) short story "Pierre Menard, Author of the
Quixote", is often regarded as predicting postmodernism and conceiving the ideal
of the ultimate parody. In the broader sense of Greek parodia, parody can occur
when whole elements of one work are lifted out of their context and reused, not
necessarily to be ridiculed. Traditional definitions of parody usually only discuss
parody in the stricter sense of something intended to ridicule the text it parodies.
There is also a broader, extended sense of parody that may not include ridicule, and
may be based on many other uses and intentions. The broader sense of parody,
parody done with intent other than ridicule, has become prevalent in the modern
parody of the 20th century. In the extended sense, the modern parody does not
target the parodied text, but instead uses it as a weapon to target something
else. The reason for the prevalence of the extended, recontextualizing type of
parody in the 20th century is that artists have sought to connect with the past while
registering differences brought by modernity. Major modernist examples of this
recontextualizing parody include James Joyce's Ulysses, which incorporates
elements of Homer'sOdyssey in a 20th-century Irish context, and T. S. Eliot's The
Waste Land, which incorporates and recontextualizes elements of a vast range of
prior texts, including Dante's The Inferno. The work of Andy Warhol is another
prominent example of the modern "recontextualizing" parody. According to French
literary theorist Gérard Genette, the most rigorous and elegant form of parody is
also the most economical, that is a minimal parody, the one that literally reprises a
known text and gives it a new meaning.

28. 28
Blank parody, in which an artist takes the skeletal form of an art work and
places it in a new context without ridiculing it, is common. Pastiche is a closely
relatedgenre, and parody can also occur when characters or settings belonging to
one work are used in a humorous or ironic way in another, such as the
transformation of minor charactersRosencrantz and
Guildenstern fromShakespeare's dramaHamlet into the principal characters in a
comedic perspective on the same events in the play (and film) Rosencrantz and
Guildenstern Are Dead. In Flann O'Brien's novel At Swim-Two-Birds, for example,
mad King Sweeney, Finn MacCool, apookah, and an assortment ofcowboys all
assemble in an inn in Dublin: the mixture of mythic characters, characters
fromgenre fiction, and a quotidian setting combine for a humor that is not directed
at any of the characters or their authors. This combination of established and
identifiable characters in a new setting is not the same as the post-modernist habit
of using historical characters in fiction out of context to provide a metaphoric
element.
Sometimes the reputation of a parody outlasts the reputation of what is being
parodied. For example, Don Quixote, which mocks the traditional knight
errant tales, is much better known than the novel that inspired it, Amadis de
Gaula (although Amadis is mentioned in the book). Another notable case is
the novelShamela by Henry Fielding (1742), which was a parody of the
gloomy epistolary novelPamela, or Virtue Rewarded (1740) by Samuel
Richardson. Many of Lewis Carroll's parodies of Victorian didactic verse for
children, such as "You Are Old, Father William", are much better known than the
(largely forgotten) originals. Stella Gibbons's comic novel Cold Comfort Farm has
eclipsed the pastoral novels of Mary Webb which largely inspired it.
In more recent times, the television sitcom 'Allo 'Allo! is perhaps better
known than the drama SecretArmy which it parodies.
Some artists carve out careers by making parodies. One of the best-known
examples is that of "Weird Al" Yankovic. His career of parodying other musical

29. 29
acts and their songs has outlasted many of the artists or bands he has parodied.
Yankovic is not required under law to get permission to parody; as a personal rule,
however, he does seek permission to parody a person's song before recording it.
Several artists, such as rapper Chamillionaire and Seattle-
basedgrunge bandNirvana stated that Yankovic's parodies of their respective
songs were excellent, and many artists have considered being parodied by him to
be a badge of honor.
In the US legal system the point that in most cases a parody of a work
constitutes fair use was upheld in the case of Rick Dees, who decided to use 29
seconds of the music from the song When Sonny Gets Blue to parodyJohnny
Mathis' singing style even after being refused permission. An appeals court upheld
the trial court's decision that this type of parody represents fair use.
Conclusion
Shamela can be read without reading Pamela first. You may need to slow
down a bit when you read it and the spelling and punctuation seem erotic by our
standards. To me it is a very funny very well written book that anyone with a
sense of humor and a little patience with the sentence structure of another era will
enjoy. I see it as totally deserving of a place on the Women Unbound Challenge.
We can learn as much from it as we can from the very poltically correct works of
the 21th century.
Shamela is also a fool for Pastor Williams. It looks like Shamela will
outgrow the Pastor as she ages and settles into her role of wife of a squire. She is
into The Reading Life and this has helped he develop her self-consciousness and
her insight. Our first guess and hope is Shamela will long outlive her husband and
will go own to have lots of adventures, use the squires money to buy books and
fancy clothes for herself and her mother. I think maybe Shamela will always have

30. 30
a weakness for an attractive but somewhat wicked young man of the lower gentry
but she will learn to have fun with that. Pamela will end up a widow also but she
will not be able to escape the roles society has imposed on her. Shamela is a
woman with a much greater sense of freedom in her life than Pamela and is much
more in control of her life than Pamela.
Shamela is a very funny Novella. Pamela is often portrayed as an anti-hero
by feminist critics. She is seen as a near fool whose whole purpose in life is to get
a wealthy near rapist to marry her. Her conditioning does not allow herself to
enter into any sort of romantic encounter with a man she does not love so her
economic needs force her to deceive herself into thinking she is in love. Once
married, it is obvious to everyone but Pamela that
her future husband will abuse her and lose interest in her as she ages. Now the
question becomes if Pamela is the feminine anti-hero is Shamela a hero? Is
Shamela an 18th century woman asserting her rights who has the intelligence
see through the claims of the squire to love her? Shamela knows what she is
doing with her master, Pamela is in bad faith and either does not know what she is
doing or more likely has it buried very deep in her consciousness. (It has been
about 15 years since I read Pamela and Clarisa. There is a great deal of depth and
artistry in these works. Both of them have lot to tell us about issues related to this
challange. Richardson was not, as he is often portrayed, a literary oppressor of
women. Clarisa is one of the longest novels in history).
There are letters by several different persons in this work. Each person has
their own style of writing. The spelling and punctuation were different in 1741
than they are now of course. Shamela is depicted as an avid reader and has
educated herself well above her station. She is a very smart woman treated
without condescension by Fielding. Her mother has learned some hard lessons
and tries to pass them along to her daughter. Her mother knows Shamela is a fool
for a handsome well-spoken man like the Parson and tries to guide her daughter
without browbeating her over her mistakes. Clearly the mother has made some
to

31. 31
mistakes of her own. The mother does profit from the marriage as was part of her
intention all along, of course.
As the marriage proceeds we see how Sham is preoccupied with finding
ways to be with Pastor Williams. She presents him to her husband as her spiritual
adviser. We see, Shamela alas does not, that the Parson cares nothing for her other
than as a source of gratification (that is really not a big deal for him as it can easily
be obtained) and hopes to find a way to use her marriage to the squire to extract
large donations to the church. Shamela is both the shammer and the shammed.
The list of used literature.
. "Henry Fielding (1707–1754)". The Literary Encyclopedia. Retrieved 2009-
09-09.
. "Henry Fielding". The Dorset Page. Retrieved 2009-09-09.
. Margaret Drabble, ed. (1985). The Oxford Companion to English Literature.
Oxford University Press. pp. 347–348.
. "Henry Fielding (1707–1754)". Books and writers. Retrieved 2009-09-09.
. Cross, Wilbur L. (1918). The History ofHenry Fielding, vol. 2. New Haven,
CT: Yale University Press.
. Braudy, Leo. "Penetration and Impenetrability in Clarissa," New
Approaches to Eighteenth-Century Literature: Selected Papers from the

32. 32
English Institute edited by Philip Harth. New York: Columbia University
Press, 1974.
. Dobson, Austin (2003). Samuel Richardson. Honolulu: University Press of
the Pacific.
. Flynn, Carol. Samuel Richardson: A Man of Letters. Princeton: Princeton
University Press, 1982.
. Greene, Mildred Sarah (1992). "The French Clarissa". In Fell, Christa; Leith,
James. Man and Nature: Proceedings of the Canadian Society for
Eighteenth-Century Studies. Edmonton: Academic Printing & Publishing.
pp. 89–98..
. Sale, William M. Samuel Richardson: Master Printer. Ithaca, NY: Cornell
University Press, 1950.
. Scheuer, J.L.; and Bowman, J.E. (June 1994). "The health of the novelist and
printer Samuel Richardson (1689–1761): a correlation of documentary and
skeletal evidence". Journal ofthe Royal Society ofMedicine (87).
Internet sources
. www.britannica.com
. www.en.wikipedia.org
. www.biography.com
. www.goodreads.com
. www.gradesaver.com
. www.study.edu.co.uk
. www.sparknotes.com