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مشاهدة النسخة كاملة : Joseph Andrews ~ by Henry Fielding ~



الزهرة الخضراء
26-02-2008, 08:31 PM
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Joseph Andrews




By
Henry Fielding


Henry Fielding was born on April 22, 1707, at the family estate, Sharpham Park, in Somerset, England. His mother died when he was eleven years old, and, on his father's remarriage, he was sent to school at Eton. He left Eton at seventeen and spent the next four years as a gentleman of leisure. After studying for 18 months at the University of Leiden in Holland, he began to support himself as a playwright in London. He wrote 25 plays before his satire, Historical Register, For the Year 1736, ridiculing Prime Minister Robert Walpole, led to the passage of the Licensing Act. This act, requiring governmental approval of all new plays, led to the end of his career as a playwright. Fielding sought to support his wife and two children by studying law and became a lawyer in 1740. He supplemented his income by writing for journals. Then in 1741 he wrote a scathing satire of Samuel Richardson's popular novel, Pamela; or Virtue Rewarded under the pseudonym of Conny Keyber. Soon after, he began work on Joseph Andrews, and this comic novel. often called the first realistic novel in English literature, was published in 1742. His beloved wife, Charlotte Cradock, who was the model for characters in his other novels, died in 1744. His support of the government during the Jacobite Rebellion of 1745, gained him the appointment of Justice of the Peace for two sections of central London in 1847. There he gained a reputation as an honest and fair magistrate. He and his half-brother, John , established the Bow Street Runners, a forerunner of the modern police force, to help curb the rampant crime in 18th century London. In 1749 his second novel, The History of Tom Jones, was published, and, two years later, his last novel, Amelia, appeared in print. The gout that had left him a virtual cripple led him to seek relief in the warmer climate of Portugal in June,1754. He died there on October 8, 1754.


THE PLOT


Returning to his country estate from a long trip, Squire Allworthy discovers a baby in his bed. He eventually finds the mother, Jenny Jones, the unmarried servant of a schoolteacher named Partridge. Allworthy generously offers to raise the child as his own. Jenny gratefully accepts the offer and leaves town without revealing the father's name. Suspicions turn to Jenny's master, Partridge. Allworthy sadly dismisses him from his post, and Partridge leaves town also. Allworthy gives the baby the name Tom Jones and loves him dearly.

Soon after, Mrs. Bridget (Allworthy's sister who lives with him) marries the greedy Captain Blifil. They have a baby boy who is raised together with Tom Jones. As he grows up, Master Blifil becomes very jealous of Tom. Blifil plays up to his tutors, Thwackum and Square, and plots to bring about Tom's ruin.

Meanwhile, Sophia Western, the lovely daughter of the neighboring squire, falls in love with Tom. Tom likes her but doesn't notice Sophia's adoration. He's become involved with the gamekeeper's daughter, Molly Seagrim. She becomes pregnant and is humiliated by the townspeople. Tom confesses to Squire Allworthy that he's the father, but when he goes to Molly to bring her some money, he finds her in bed with the philosopher Mr. Square. She has had other lovers all along. Tom feels free to think of the other woman he's gradually fallen in love with: Sophia Western.

But Squire Western, Sophia's father, won't allow her to marry a foundling like Tom. He wants her to marry Blifil and so unite the Allworthy and Western estates. Blifil wants to marry her as well, to gain her wealth and to get revenge on Tom Jones. When Western discovers Sophia's love for Tom, he locks her up until she agrees to marry Blifil.

Squire Allworthy becomes very ill. He recovers but receives the news that Mrs. Bridget, who was away on a trip, has died. To celebrate Allworthy's recovery, Tom gets drunk. Later Blifil lies to Allworthy that Jones got drunk because he thought Allworthy was about to die and was celebrating his impending inheritance. Thwackum and Square corroborate the story. Allworthy, who is fed up with Tom's offenses, banishes him from his estate.

Miserably, Tom heads toward the sea. Meanwhile, Sophia escapes her father's imprisonment and sets out to find Tom. Western, an enthusiastic hunter, climbs on his horse and sets off to track his daughter down.

At an inn, Tom is attacked by a surly soldier named Northerton. The man who bandages Tom's wounds turns out to be Partridge- Tom's supposed father. But Partridge informs Tom that Tom isn't his son. The pair become friends and traveling companions. Walking along, Tom finds Northerton attacking a woman named Mrs. Waters. He rescues the attractive lady and takes her to Upton Inn.

Mrs. Waters seduces Tom over dinner. Sophia arrives at the inn and finds that Tom's in bed with another woman. Enraged, she leaves her handwarmer on his bed, with her name, and makes her way toward London. Western, too, arrives and finds Tom but not Sophia. Cursing, he begins the pursuit of Sophia but becomes distracted by a fox hunt and eventually returns home.

On the road, Sophia meets her cousin, Mrs. Fitzpatrick, who's fleeing her hot-tempered Irish husband. They go to London together. Meanwhile, Tom discovers Sophia's handwarmer on his bed and falls into despair. He sets off on foot toward London with Partridge.

In London, Sophia stays with Lady Bellaston, a society lady. Lady Bellaston hears about Tom Jones and is so intrigued she contrives to meet him on her own. Tom, hoping the lady can lead him to Sophia, has an affair with her.

One evening, while he's alone in Lady Bellaston's drawing room, Sophia walks in. He asks her forgiveness for what happened at Upton Inn and proclaims his love for her. She forgives him, and they embrace. But she tells him that her father's displeasure prevents her from marrying him.

Later, the enraged Lady Bellaston accuses Tom of carrying on with Sophia behind her back. At the same time, a friend of Lady Bellaston, Lord Fellamar, has fallen in love with Sophia. To remove her rival, Lady Bellaston arranges for Fellamar to abduct and marry Sophia.

Tom tries to figure out a way to break off his affair with Lady Bellaston. Nightingale, a young gentleman who has become Tom's friend, surprisingly suggests that Tom propose marriage to her. He does, and Lady Bellaston, believing Tom's just trying to get her money, angrily refuses him.

Meanwhile, Squire Western, hearing that Sophia's in London, goes there with Mrs. Western. He finds Sophia just as she's about to be raped by Fellamar. He takes her to his lodgings for safe keeping.

Allworthy and Blifil, following the others, arrive in London.

Tom goes to Mrs. Fitzpatrick to figure out how to reach Sophia. As he's leaving, he runs into Mr. Fitzpatrick. Jealously believing that Tom is his wife's lover, Fitzpatrick draws his sword. Tom thereupon wounds Fitzpatrick and is taken to prison. Mrs. Waters, who is now traveling with Mr. Fitzpatrick, visits Tom in prison and tells him that Fitzpatrick's wound was slight. Tom now receives a letter from Sophia, who has discovered his affair with Lady Bellaston, saying she never wants to see him again. And Partridge, recognizing Mrs. Waters as Jenny Jones, tells Tom that he slept with his own mother.

Meanwhile, Tom's landlady, Mrs. Miller, who is a friend of Squire Allworthy, tells Allworthy of Tom's great generosity and kindness toward her. Allworthy doesn't even want to hear Tom's name. But Allworthy is visited by Mrs. Waters (Jenny Jones), who informs him that Tom Jones is the son of Mrs. Bridget (Allworthy's sister), and so is also Allworthy's nephew and Blifil's half-brother. Allworthy then hears that his sister wrote him a letter revealing that she was Tom's mother, but that the letter had been kept from him by Blifil. He receives a letter from the dying Square, saying that Tom dearly loved Allworthy. Convinced of Blifil's villainy, Allworthy banishes him. Allworthy and Tom have a tender reunion.

Western, finding that Tom is the Allworthy heir, becomes enthusiastic about Tom's marrying Sophia. But Sophia, though she loves Tom, is still angry. Tom vows his devotion. Sophia, pretending to obey only her father's wishes, but actually obeying her own heart, accepts him. They marry and return happily to the country, where Western gives them his estate.


THE CHARACTERS

MAJOR CHARACTERS

THE NARRATOR

Many readers find the narrator the most interesting character in Tom Jones. (Some readers identify the narrator with Fielding.) In the first chapter, the narrator compares the novel to a feast and the opening chapters of each book to a menu. The narrator himself is like a very affable host who has invited you to dinner. Genial, intelligent, witty, he's wonderfully well educated (especially in the classics) but never stuffy. Whether criticizing critics and other novelists, or calling for your sympathy in helping him with the impossible task of his narrative, he constantly amuses and charms. In Tom Jones, you feel as if you have had a personal chat with the narrator just by reading his novel.


TOM JONES

Tom Jones is the foundling taken in and raised by the wealthy Squire Allworthy. You later learn that he is Mrs. Bridget's son- and thus Allworthy's nephew, Master Blifil's older half-brother, and the heir to the Allworthy estate.

Tom Jones is both unheroic and heroic. "Even at his first appearance, it was the universal opinion of all Mr. Allworthy's family, that he was born to be hanged," says the narrator. When you meet him again at age fourteen, "he has been already convicted of three robberies, viz. of robbing an orchard, of stealing a duck out of farmer's yard, and of picking Master Blifil's pocket of a ball.... Tom Jones was universally disliked."

But Tom's thefts, and Tom himself, have another side as well. Tom robbed the orchard and stole the duck to help the impoverished gamekeeper, Black George. Tom is often astoundingly generous, underlining Fielding's belief in charity as one of the central Christian virtues. At the novel's end, even Allworthy, an ideal of charity, is amazed by Tom's generosity toward the criminal Black George.

Further, unlike Master Blifil, Tom seeks no publicity for his virtues. He gives Mrs. Miller money for her relatives privately, and he's embarrassed by her praise. Nor, unlike so many of the other characters, does Tom have any desire for revenge. He doesn't seek vengeance on Blifil or Black George, even though they've betrayed him.

In these ways, Tom resembles his surrogate father, Squire Allworthy. But Tom is also impulsive like Squire Western, his other surrogate father. He has the Squire's hot temper: when called "a beggarly bastard" by Blifil, he bloodies Blifil's nose. He has unbridled animal drives, seldom putting much restraint on his sexual urges. Even as he's feeling pure, elevated love for Sophia Western, he indulges in an affair with Lady Bellaston.

Tom Jones is a bildungsroman, a novel about growing up; the novel traces Tom's acquisition of knowledge of the world. Tom slowly comes to temper his impulsiveness with wisdom. When, because of his love for Sophia, he turns down the romantic proposals of Mrs. Fitzpatrick, he demonstrates his maturity. Having acquired wisdom, he almost magically regains Allworthy's love and marries Sophia.

Readers vary greatly in their estimation of Tom. Some see him as a virile, high-spirited young man whose character flaws are minor because they never conceal his noble heart. Others are repulsed by such a flawed hero and find unpalatable a novel that evidently celebrates him.

Readers also vary in their estimation of Tom as a literary character. Some feel he's realistically portrayed- a character with the mix of strengths and flaws all people possess. Others think that compared to heroes of other great novels, Tom lacks depth. To them, Tom seems portrayed in a kind of shorthand. Fielding doesn't often explore Tom's emotions here, he just describes them in general terms, as if he didn't take them seriously or wasn't especially interested in them. According to one critic, Tom and the other characters have no emotional complexity, and their psychological development seems extremely limited. See if you feel this limitation as you read.

Other readers don't find this lack of complexity a defect, because they see Tom as an allegorical figure- more an abstract symbol than a realistic character. According to one writer, "Tom Jones is that universal hero of folk tale and myth- the foundling prince, the king's son raised by wolves, Moses in the bullrushes...." Another writes:

The story of Tom Jones's disgrace and redemption, of his arduous journey toward reconciliation with his foster father and marriage with the woman he loves, takes on a broadly allegorical dimension; it is the story of our deep need to live our lives with Wisdom.

As you can see, Tom Jones has been interpreted in many ways. It is up to you to determine who the real Tom is. Your evaluation of the book will rest to a considerable degree on your interpretation of the title character.


SQUIRE ALLWORTHY

A wealthy landowner, Squire Allworthy finds Tom Jones and raises him as his own son. Generous and kind, Squire Allworthy often represents an idealized image of fatherhood. A kindly man, he can also seem stern and even rather arbitrary. ("Though Mr. Allworthy had the utmost sweetness and benevolence in his smiles, he had great terror in his frowns.") As his name implies, he serves as a God-like image, resembling for some readers the God of the Old Testament.

He contrasts with the rash Squire Western in his moderation, urbanity, and wisdom. He also contrasts with the sophisticated but cynical Mrs. Western and Lady Bellaston in his warmth and kindness. Yet for a God-like figure, he seems to some readers very unaware or blind. For example, he doesn't understand Blifil's motives for marrying Sophia- he even believes Blifil has a passionate, erotic desire for her. Some critics feel this blindness is merely a device to serve the plot, while others feel he thus becomes a more complex character.


MASTER BLIFIL

Mrs. Bridget's son and Squire Allworthy's nephew, Master Blifil is raised with Tom Jones in the Allworthy household and is the villain of the novel. Prissy and pompous, he seems to act mainly out of selfishness, greed, and jealousy. He plays up to his pious mentors, Thwackum and Square, then enlists them in his plots. He wants to marry Sophia not out of love but out of a desire for the Western estate. He hides the letter from his mother to Squire Allworthy that reveals Tom is really her son and thus Allworthy's nephew and heir. He also lies that Tom was overjoyed when Allworthy seemed about to die- a lie that causes Allworthy to banish Tom for a time.

Blifil is indeed villainous. But Blifil's nasty cleverness makes him his own worst enemy. At the novel's conclusion, his treachery is discovered and he- not Tom Jones- is the one banished from the Allworthy estate.


SQUIRE WESTERN

Squire Western is Sophia's father and one of the most delightful characters in Tom Jones. A bundle of unbridled instincts who spends much of his time hunting, Western sometimes functions as another father figure for Tom, who shares his vitality and lack of restraint.

The squire is crude and boorish, with a violent temper and almost as violent an affection for his friends, relations, and animals. He loves his daughter so much that he comes to prefer her to his hunting dogs- high praise from him. He likes Tom as well. Despite his affections, greed prevents him from letting the couple marry. Instead, he insists Sophia marry Blifil for money. Not until Tom is declared Squire Allworthy's true heir does he agree to Sophia's marrying his young friend.


SOPHIA WESTERN

Sophia is Squire Western's daughter, Tom Jones' true love, and the heroine of Tom Jones. She is lovely, kind, and bright, without the biting wit or cynicism of so many others in the novel. The noted twentieth-century novelist Somerset Maugham said Sophia is "...as delightful a young woman as has ever enchanted a reader of fiction. She is simple, but not silly; virtuous, but no prude; she has character, determination and courage; she has a loving heart." The character of Sophia was based on Fielding's first wife, Charlotte Cradock, whom he loved dearly. Sophia's name means wisdom, and in the novel she functions as an emblem of wisdom. Perhaps because of this, some readers find her too idealized.

SELECTED MINOR CHARACTERS
MRS. BRIDGET (ALLWORTHY) BLIFIL

Squire Allworthy's sister and the mother of Master Blifil, she's pompous and sanctimonious, and she despises both her husband, Captain Blifil, and their son. She does, however, bear a surprising affection for the young Tom Jones. That affection is explained at the end of the book when, years after her death, she is revealed as Tom's mother, having conceived him during an affair with a young visitor to the Allworthy estate, Mr. Summer.


CAPTAIN BLIFIL

The Captain is Master Blifil's father and Bridget Allworthy's husband. He's introduced into the Allworthy household by his greedy brother, Dr. Blifil, who hopes the Captain can win Bridget's hand and thus be in line to inherit Allworthy's estate. Captain Blifil does marry Bridget, but he has no intention of sharing his luck with his brother. He causes Dr. Blifil to die of sorrow at losing a fortune. Ironically, Captain Blifil himself dies before he can inherit anything.


MR. THWACKUM

Thwackum is a pompous tutor who is fond of Blifil but despises Jones, being one of the many who believe Tom was "born to be hanged." As his name implies, he is fond of dispensing punishment. He has many tedious philosophical discussions with his rival, Mr. Square, and is also an unsuccessful suitor to Mrs. Bridget.


MR. SQUARE

A resident guest at the Allworthy estate, Square is Mr. Thwackum's companion and rival. He, too, dislikes Jones and fawns over Blifil, and he helps Blifil to have Jones banished. He turns out to be a lover of Molly Seagrim, and an unsuccessful suitor of Mrs. Bridget Blifil. Near the end of the novel, on his deathbed, he writes a letter to Allworthy, which helps Tom Jones regain the Squire's love.


MRS. WESTERN

Mrs. Western is Sophia's aunt and Squire Western's sister- a sophisticated lady (though not as sophisticated as she likes to think) who despises her brother's country boorishness. On the subject of Sophia's marriage, however, she and Squire Western agree. Having taken the responsibility for Sophia's education, she expects her niece to marry a wealthy aristocrat. She too pushes Sophia to marry Blifil.


JENNY JONES- MRS. WATERS

The supposed mother of Tom Jones, Jenny Jones was hired by Mrs. Bridget Blifil to assume motherhood and bring the foundling to Squire Allworthy's bed. She's then sent away by Allworthy for her supposed infidelity with Partridge. Years later, she turns up as Mrs. Waters, the bawdy wife of an army captain. Rescued from the brutal Ensign Northerton by Tom Jones, she shows her gratitude by seducing her rescuer. (As a result, Tom will briefly fear he's slept with his own mother.) At the end of the book, she reveals Tom's true parentage to Allworthy.


BLACK GEORGE
(SEAGRIM)

He's the impoverished gamekeeper of Squire Allworthy and, later, of Squire Western. Tom Jones takes the blame for his crimes, and helps him financially. Black George ungratefully repays him by stealing the bank note Allworthy gave Tom on banishing him. Black George offers to help Tom at the end of the book, though, proving he has some loyalty.


MOLLY SEAGRIM

Molly is Black George's wild daughter. She's also Tom Jones' first lover. Tom believes, wrongly, that he is the father of her child, then discovers that she has other lovers, including Mr. Square.


PARTRIDGE
(LITTLE BENJAMIN)

Partridge is the schoolteacher wrongly thought to be Jenny Jones' lover and Tom Jones' father. When his jealous wife dies, he takes to the road. Years later, he runs into the banished Tom and accompanies him, partly out of friendship and partly out of hopes of regaining Allworthy's favor by reconciling the Squire with Tom. Partridge is a nervous, amusing fellow, a scholarly stand-up comic who gives his punch lines in Latin. Faithful if sometimes bothersome, he's been compared to another famous traveling companion of literature, Sancho Panza of the great early-seventeenth-century Spanish novel, Don Quixote, by Miguel de Cervantes.


MRS. (HARRIET) FITZPATRICK

She flees with her cousin Sophia to London. She claims to be fleeing her cruel Irish husband, Mr. Fitzpatrick, but she's also running away for a romantic engagement with an Irish nobleman. Her selfishness (she betrays Sophia to gain favor with Western) contrasts with Sophia's nobility.


MR. FITZPATRICK

Mrs. Fitzpatrick's husband, he has a violent temper and is chasing his wife. He wrongly suspects Tom of having an affair with his wife and challenges him to a duel, which results in Tom's being thrown in prison.


LADY BELLASTON

A wealthy, sophisticated, and utterly selfish friend of Mrs. Western, she gives Sophia a place to stay in London. After hearing Sophia talk about Tom Jones, she develops an infatuation for him, and, using Sophia as a lure, she begins an affair with him. Generous at times- she provides Tom with money and clothes- she's vicious when angry. When Tom breaks off their affair, she does her best to ruin his chances with Sophia.


MRS. MILLER

The warm, simple woman who runs the London lodging house where Tom stays, she's a friend of Squire Allworthy and a recipient of his generosity. By singing Tom's praises to Allworthy, she helps him regain Allworthy's favor.


NIGHTINGALE

A boarder at Mrs. Miller's and a friend of Tom when he gets to London, he is the lover and eventual husband of Mrs. Miller's daughter Nancy. As his name suggests, he is something of a frivolous social creature, but he proves to be a good and loyal friend to Tom.

Lass
26-02-2008, 08:43 PM
مشكورة أختي على هالعرض المختصر

بصراحة أول مره أسمع عن هالرواية .. لكن من موضوعك أخذت عنها فكرة بسيطة

يعطيك العــافية

:

الزهرة الخضراء
26-02-2008, 08:44 PM
A helpful Joseph Andrews study guide
by Prof. Lilia Melani


RICHARDSON'S PAMELA AND FIELDING'S JOSEPH ANDREWS

Richardson's novel Pamela, subtitled Virtue Rewarded, was immensely popular when it appeared in 1740. Richardson tells the story, through letters, of the repeated attempts of Pamela's employee, Mr. B–, to seduce her and then to rape her. Won over by her virtue and genteel delicacy, he marries her even thought she is a mere servant. In the view of many readers, this novel equates "virtue" with virginity and the reward of virtue–or managing to stay a virgin–is marriage, and the focus on seduction/rape ignores the diversity of life and of human motivation.
Fielding satirized Pamela with Shamela (1741), whose heroine is a knowing, ambitious, self-centered manipulator. Then in the next year, he wrote Joseph Andrews, which is a second satire of Pamela. Why Fielding wrote two parodies of one novel is puzzling and a variety of explanations have been offered. What is clear is that, though Joseph Andrews may have started as a satire of Pamela, it quickly outgrew that narrow purpose and has amused generations of readers who never heard of Pamela.

As Fielding indicated on the title page of Joseph Andrews, he was imitating Cervantes's Don Quixote, so that his novel is also a picaresque novel–or novel of the road–and an adventure novel. With the introduction of Parson Adams, who has been called the first great comic hero in the English novel and one of the glories of human nature, it also becomes a novel of character. In keeping with Fielding's bent as a moralist and reformer, the satire extends beyond literary matters to society itself, and Fielding exposes the vices and follies not merely of individuals, but also of the upper classes, institutions, and society's values.


THEMES IN JOSEPH ANDREWS

Appearance versus reality. Who is truly virtuous, charitable, chaste, knowledgeable, just, etc. and who merely pretends to be and/or has the reputation of being so? Characters say one thing and mean another, or they act at variance with their speech. How, in Fielding's view, can the reader distinguish the person who pretends out of vanity or who is hypocritical from the truly good man/woman?

Abuse of power, by individuals, classes, institutions.

Inhumanity of individuals and society.

Lust versus chastity.

The nature of goodness. Fielding admired honesty, integrity, simplicity, and charity, believed that virtue is seen in an individual's actions, but recognized the difficulty of making moral judgments. How is the reader to judge the postilion who gave Joseph his coat but was later convicted of stealing chickens? or Betty, who is charitable and promiscuous? Nor do good men necessarily have harmonious relationships or understand each other, as is seen in Adam's interactions with the Catholic priest and the innkeeper previously hoodwinked by the "generous gentleman."

Charity: This theme is related to the issue of faith versus works

Vanity. Are there degrees or kinds of vanity? The vanity of a Leonora is destructive, but what is the effect of Adams's vanity (his pride in his worldly knowledge derived from books, his pride in his sermons, and his pride in his excellence as a teacher)?

City living versus living in retirement in the country. This was a common theme in eighteenth century literature, as it had been in classical Roman literature. Wilson's story contrasts the useless, aimless, destructive life of London with the idyllic, simple pleasures of living in the country.


THE NARRATOR

The narrator, the I who speaks in the novel, is a fictional persona; the narrator's character shifts from historian to creator, reporter, arbiter of morals and manners to manipulator. The narrator is not to be confused with Fielding, who is writing the novel and for whom the narrator is a device to achieve certain effects:
The narrator keeps readers conscious that Joseph Andrews is a fiction. By shifting the narrator's character, Fielding reminds readers that he is telling a story whose truth lies, not in its facts, but in the accuracy with which human nature is depicted. The narrator contributes to what Ian Watt calls the novel's "realism of assessment."

The fictional narrator puts distance between the reader and the pain, the suffering, and the cruelty depicted in the novel. Does the distance makes them bearable? Is distance perhaps necessary for the novel to be comic? Does the distance created by the narrator allow for greater irony at times?
Note: Fielding uses other devices to control distance or the reader's involvement in the novel, for instance, the mock heroic language and epic parallels.

The narrator helps unify the novel, which is a succession of unrelated incidents.

The narrator contributes to the assurance with which Fielding handles his novel by talking to us in a relaxed, at-ease manner.

THE READER

Some critics suggest that Fielding wrote for two different kinds of readers: the first set of readers consisted of gentlemen like himself who had a classical education and similar values; the second consisted of everyone else. Only the educated would have appreciated Fielding's subtleties and learned allusions and satire.
Fielding also addresses and manipulates a fictional reader in his novel by attributing certain values or attitudes to that reader. Thus the reader addressed or referred to in the novel and the narrator are both fictional characters Then, of course, there are the actual readers–us. One way that Fielding uses the fictional reader is to make us, the actual readers, aware of our own foibles, vanities, and hypocrisies

ISSUES TO CONSIDER

Here are some questions you might think about as you read or review the novel:
Adams has been called a moral touchstone; that is, through contact with him, other characters reveal, unintentionally and usually unperceived by Adams, their moral natures. Does he serve this function in the novel?

In view the number of fights Adams becomes involved in and the farcical incidents he is the butt of (e.g., having hogs' blood dumped on him in one incident and urine in another incident), is Adams's dignity, his basic decency, or his moral authority diminished? or even canceled completely?

Does Adams learn from his experiences?

The title suggests that Joseph Andrews is the hero of the novel (the original title is The History of the Adventures of Joseph Andrews and his Friend, Mr. Abraham Adams). Is he? He is certainly what we would today call the romantic lead.

Is this an education novel or bildungsroman? Does Joseph grow or develop on their journey? The importance of a guide or mentor runs through the novel; both Leonora and Mr. Wilson lack a mentor to guide them and to inculcate good values. Does Adams serve as Joseph's mentor (and as a guide to his parishioners)? Does Joseph come to be more understanding or more knowledgeable than Parson Adams upon occasion? and his view more sensible?

Are actions the only criterion for revealing a person's true character and moral nature?

Does Fielding's practice in his novel conform to the literary theories he offers in the preface and three books? Does he, for example, exclude portrayals of vice, as he announces in the Preface? Does his theory of satire and the ridiculous (which he bases on vanity and hypocrisy) apply to Adams? The ridiculous characters are intended to make readers aware of their own vanities and hypocrisies, but would anyone reading about Slipslop or Peter Pounce identify with either?

Does Fielding present characters from the inside, so that the reader knows their feelings and motives, or observe them from the outside? Are the characters presented as they see themselves, as the narrator sees them, or as Fielding sees them?

FLAWS

Many readers and critics find the story rambling and haphazard, its incidents neither connected to the protagonist (whether he is perceived to be Adams or Joseph) nor contributing to the denouement. The two interpolated tales of Leonora and Wilson have no necessary connection to the rest of the novel. And some find the ending unsatisfactory and disappointing.


QUOTATIONS FROM CRITICS

I offer these quotations to stimulate your thinking, not necessarily because they reflect my views.
Mark Spilka: "Fielding always attempted to show that virtue can be a successful way of life."

Maynard Mack asserts that in comedy the reader's point of view must be continuous with "not the character's but the author's."

According to Andrew Wright, Fielding "elevated the novel... to the level of serious playfulness."

Arthur Sherbo: "Without Parson Adams and Mrs. Slipslop, Joseph Andrews is nothing."

Martin C. Battestin sees in Adams "the Christian hero, the representative of good nature and charity, which form the heart of morality."

F. Homes Dudden is "impressed by the wideness of the gulf which seems to separate the classes–the ‘high people' from the ‘low people..."

الزهرة الخضراء
26-02-2008, 08:55 PM
Sources & Useful links
________________________
http://kclibrary.nhmccd.edu/JosephAndrews.html
http://www.chsbs.cmich.edu/Kristen_McDermott/ENG235/JAndrews.guide.html
http://en.wikipedia.org/wiki/Joseph_Andrews#Plot_summary
http://www.bibliomania.com/0/0/22/2394/frameset.html

الزهرة الخضراء
26-02-2008, 08:56 PM
مشكورة أختي على هالعرض المختصر

بصراحة أول مره أسمع عن هالرواية .. لكن من موضوعك أخذت عنها فكرة بسيطة

يعطيك العــافية

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الله يعافيك ... ومرحباً بك ...

popular girl 2
28-02-2008, 01:51 PM
Thank you zahra this is a perfect offer

omar sweity
08-10-2008, 01:11 AM
عندي سوال بالنسبة اJOSEPH ANDRE
ONE OF FIELING;S MAIN CONCERNS IN HIS jSEPH ANDREWS IS TH QUESTION OF MARRIAGE DISCUSS

omar sweity
08-10-2008, 01:16 AM
الرجاء في من يجد في نفسه الكفائة في الاجابة الرد وشكرا

نانا الدلوعه
08-03-2009, 02:02 PM
thanks alot 4 ur effort