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A '''novel''' (from French ''nouvelle'' Italian "novella", "new") is an extended, generally [[fiction]]al [[narrative]], typically in [[prose]]. Until the [[eighteenth century]], the word referred specifically to [[short fiction]]s of [[love]] and intrigue as opposed to ''[[romance (genre)|romance]]s'', which were [[epic poetry|epic]]-length works about love and [[adventure]]. Literary theory of genres has not yet managed to isolate a "single definite, stable characteristic of the novel" that holds without reservations.<ref>Bakhtin 1981, pp.8-9</ref>

A '''novel''' (from French ''nouvelle'' Italian "novella", "new") is an extended, generally [[fiction]]al [[narrative]], typically in [[prose]]. Until the [[eighteenth century]], the word referred specifically to [[short fiction]]s of [[love]] and intrigue as opposed to ''[[romance (genre)|romance]]s'', which were [[epic poetry|epic]]-length works about love and [[adventure]]. Literary theory of genres has not yet managed to isolate a "single definite, stable characteristic of the novel" that holds without reservations.

During the 18th century the novel adopted features of the old romance and became one of the major literary genres. It is today defined mostly by its ability to become the object of literary criticism demanding [[artistic merit]] and a specific 'literary' style—or specific literary styles.

During the 18th century the novel adopted features of the old romance and became one of the major literary genres. It is today defined mostly by its ability to become the object of literary criticism demanding [[artistic merit]] and a specific 'literary' style—or specific literary styles.

The alternative to dubious novels and satirical romances were better, lofty romances: a production of romances modeled after Heliodorus arrived as a possible answer with excursions into the [[bucolic]] world. [[Honoré d'Urfé]]'s ''L'Astrée'' (1607-27) became the most famous work of this type. The criticism that these romances had nothing to do with real life was answered through the device of the ''[[roman à clef]]'' (literally "novel with a key") — one that, properly understood, alludes to characters in the real world. [[John Barclay]]'s ''[[Argenis]]'' (1625-26) appeared as a political ''Roman à clef''. The romances of [[Madeleine de Scudéry]] gained greater influence with plots set in the ancient world and content taken from life. The famous author told stories of her friends in the literary circles of Paris and developed their fates from volume to volume of her serialized production. Readers of taste bought her books, as they offered the finest observation of human motives, characters taken from life, and excellent morals regarding how one should and should not behave if one wanted to succeed in public life and in the intimate circles she portrayed.

The alternative to dubious novels and satirical romances were better, lofty romances: a production of romances modeled after Heliodorus arrived as a possible answer with excursions into the [[bucolic]] world. [[Honoré d'Urfé]]'s ''L'Astrée'' (1607-27) became the most famous work of this type. The criticism that these romances had nothing to do with real life was answered through the device of the ''[[roman à clef]]'' (literally "novel with a key") — one that, properly understood, alludes to characters in the real world. [[John Barclay]]'s ''[[Argenis]]'' (1625-26) appeared as a political ''Roman à clef''. The romances of [[Madeleine de Scudéry]] gained greater influence with plots set in the ancient world and content taken from life. The famous author told stories of her friends in the literary circles of Paris and developed their fates from volume to volume of her serialized production. Readers of taste bought her books, as they offered the finest observation of human motives, characters taken from life, and excellent morals regarding how one should and should not behave if one wanted to succeed in public life and in the intimate circles she portrayed.

The novel went its own way: [[Paul Scarron]] (himself a hero in the romances of [[Madeleine de Scudéry]]) published the first volume of his ''Roman Comique'' in 1651 (successive volumes appeared in 1657 and, by another hand, in 1663) with a plea for the development Cervantes had introduced in Spain. France should (as he wrote in the famous twenty first chapter of the ''Roman Comique'' [http://www.pierre-marteau.com/library/e-1700-0002.html#c21]) imitate the Spanish with little stories like those they called "novels". Scarron himself added numerous of such stories to his own work.

The novel went its own way: [[Paul Scarron]] (himself a hero in the romances of [[Madeleine de Scudéry]]) published the first volume of his ''Roman Comique'' in 1651 (successive volumes appeared in 1657 and, by another hand, in 1663) with a plea for the development Cervantes had introduced in Spain. France should (as he wrote in the famous twenty first chapter of the ''Roman Comique'' [https://www.pierre-marteau.com/library/e-1700-0002.html#c21]) imitate the Spanish with little stories like those they called "novels". Scarron himself added numerous of such stories to his own work.

Twenty years later [[Marie-Madeleine Pioche de la Vergne, comtesse de la Fayette|Madame de La Fayette]] took the next decisive steps with her two novels. The first, her ''Zayde'' (published in 1670 together with [[Pierre Daniel Huet]]'s famous ''[[Traitté de l'origine des romans|Treatise on the Origin of Romances]]''), was a "Spanish history". Her second and more important novel appeared in 1678: ''[[La Princesse de Clèves]]'' proved that France could actually produce novels of a particularly French taste. The Spanish enjoyed stories of proud Spaniards who fought duels to avenge their reputations. The French had a more refined taste with minute observation of human motives and behavior. The story was firmly a "novel" and not a "romance": a story of unparalleled female virtue, with a heroine who had had the chance to risk an illicit amour and not only withstood the temptation but made herself more unhappy by confessing her feelings to her husband. The gloom her story created was entirely new and sensational.

Twenty years later [[Marie-Madeleine Pioche de la Vergne, comtesse de la Fayette|Madame de La Fayette]] took the next decisive steps with her two novels. The first, her ''Zayde'' (published in 1670 together with [[Pierre Daniel Huet]]'s famous ''[[Traitté de l'origine des romans|Treatise on the Origin of Romances]]''), was a "Spanish history". Her second and more important novel appeared in 1678: ''[[La Princesse de Clèves]]'' proved that France could actually produce novels of a particularly French taste. The Spanish enjoyed stories of proud Spaniards who fought duels to avenge their reputations. The French had a more refined taste with minute observation of human motives and behavior. The story was firmly a "novel" and not a "romance": a story of unparalleled female virtue, with a heroine who had had the chance to risk an illicit amour and not only withstood the temptation but made herself more unhappy by confessing her feelings to her husband. The gloom her story created was entirely new and sensational.

''The Wonders of this Man's Life exceed all that (he thinks) is to be found extant; the Life of one Man being scarce capable of a greater Variety.<br>&nbsp;&nbsp;&nbsp;&nbsp;

''The Wonders of this Man's Life exceed all that (he thinks) is to be found extant; the Life of one Man being scarce capable of a greater Variety.<br>&nbsp;&nbsp;&nbsp;&nbsp;

''The Story is told with Modesty, with Seriousness, and with a religious Application of Events to the Uses to which wise Men always ap[p]ly them'' (viz.) ''to the Instruction of others by this Example, and to justify and honor the Wisdom of Providence in all the Variety of our Circumstances, let them happen how they will.''</br>&nbsp;&nbsp;&nbsp;&nbsp;

''The Story is told with Modesty, with Seriousness, and with a religious Application of Events to the Uses to which wise Men always ap[p]ly them'' (viz.) ''to the Instruction of others by this Example, and to justify and honor the Wisdom of Providence in all the Variety of our Circumstances, let them happen how they will.''</br>&nbsp;&nbsp;&nbsp;&nbsp;

''The Editor believes the thing to be a just History of Fact; neither is there any Appearance of Fiction in it: And however thinks, because all such things are dispatch'd [later editions: disputed], that the Improvement of it, as well as the Diversion, as to the Instruction of the Reader, will be the same; and as such he thinks, without farther Compliment to the World, he does them a great Service in the Publication.''[http://www.pierre-marteau.com/editions/1719-robinson-crusoe/p-iii.html]

''The Editor believes the thing to be a just History of Fact; neither is there any Appearance of Fiction in it: And however thinks, because all such things are dispatch'd [later editions: disputed], that the Improvement of it, as well as the Diversion, as to the Instruction of the Reader, will be the same; and as such he thinks, without farther Compliment to the World, he does them a great Service in the Publication.''[https://www.pierre-marteau.com/editions/1719-robinson-crusoe/p-iii.html]

</blockquote>

</blockquote>

*'''1651''': Paul Scarron, ''The Comical Romance'', Chapter XXI. "Which perhaps will not be found very Entertaining" (London, 1700). Scarron's plea for a French production rivalling the Spanish "Novels". [http://www.pierre-marteau.com/library/e-1700-0002.html#c21 Marteau]

*'''1651''': Paul Scarron, ''The Comical Romance'', Chapter XXI. "Which perhaps will not be found very Entertaining" (London, 1700). Scarron's plea for a French production rivalling the Spanish "Novels". [https://www.pierre-marteau.com/library/e-1700-0002.html#c21 Marteau]

*'''1670''': Pierre Daniel Huet, "Traitté de l'origine des Romans", Preface to Marie-Madeleine Pioche de La Vergne comtesse de La Fayette, ''Zayde, histoire espagnole''  (Paris, 1670). A world history of fiction. [http://visualiseur.bnf.fr/Visualiseur?Destination=Gallica&O=NUMM-57594 pdf-edition Gallica France]

*'''1670''': Pierre Daniel Huet, "Traitté de l'origine des Romans", Preface to Marie-Madeleine Pioche de La Vergne comtesse de La Fayette, ''Zayde, histoire espagnole''  (Paris, 1670). A world history of fiction. [https://visualiseur.bnf.fr/Visualiseur?Destination=Gallica&O=NUMM-57594 pdf-edition Gallica France]

*'''1683''': [Du Sieur], "Sentimens sur l’histoire" from: ''Sentimens sur les lettres et sur l’histoire, avec des scruples sur le stile'' (Paris: C. Blageart, 1680). The new novels as published masterly by Marie de LaFayette . [http://www.pierre-marteau.com/editions/1683-1712-novels.html Marteau]

*'''1683''': [Du Sieur], "Sentimens sur l’histoire" from: ''Sentimens sur les lettres et sur l’histoire, avec des scruples sur le stile'' (Paris: C. Blageart, 1680). The new novels as published masterly by Marie de LaFayette . [https://www.pierre-marteau.com/editions/1683-1712-novels.html Marteau]

*'''1702''': Abbe Bellegarde, "Lettre à une Dame de la Cour, qui lui avoit demandé quelques Reflexions sur l’Histoire" aus: ''Lettres curieuses de littérature et de morale'' (La Haye: Adrian Moetjens, 1702). Paraphrase of Du Sieur's text. [http://www.pierre-marteau.com/editions/1683-1712-novels.html Marteau]

*'''1702''': Abbe Bellegarde, "Lettre à une Dame de la Cour, qui lui avoit demandé quelques Reflexions sur l’Histoire" aus: ''Lettres curieuses de littérature et de morale'' (La Haye: Adrian Moetjens, 1702). Paraphrase of Du Sieur's text. [https://www.pierre-marteau.com/editions/1683-1712-novels.html Marteau]

*'''1705/1708/1712''': [Anon.] In English, French and German the Preface of ''The Secret History of Queen Zarah and the Zarazians'' (Albigion, 1705). Bellegarde's article plagiarised. [http://www.pierre-marteau.com/editions/1683-1712-novels.html Marteau]

*'''1705/1708/1712''': [Anon.] In English, French and German the Preface of ''The Secret History of Queen Zarah and the Zarazians'' (Albigion, 1705). Bellegarde's article plagiarised. [https://www.pierre-marteau.com/editions/1683-1712-novels.html Marteau]

*'''1713''': ''Deutsche Acta Eruditorum'', German review of the French translation of Delarivier Manley's ''New Atalantis'' 1709 (Leipzig: J. L. Gleditsch, 1713). A rare example of a political novel discussed by a literary journal. [http://www.pierre-marteau.com/editions/1712-atalantis.html Marteau]

*'''1713''': ''Deutsche Acta Eruditorum'', German review of the French translation of Delarivier Manley's ''New Atalantis'' 1709 (Leipzig: J. L. Gleditsch, 1713). A rare example of a political novel discussed by a literary journal. [https://www.pierre-marteau.com/editions/1712-atalantis.html Marteau]

*'''1715''': Jane Barker, preface to her ''Exilius or the Banish’d Roman. A New Romance'' (London: E. Curll, 1715). Plea for a "New Romance" following Fénlon's ''Telmachus''. [http://www.pierre-marteau.com/library/e-1715-0008.html Marteau]

*'''1715''': Jane Barker, preface to her ''Exilius or the Banish’d Roman. A New Romance'' (London: E. Curll, 1715). Plea for a "New Romance" following Fénlon's ''Telmachus''. [https://www.pierre-marteau.com/library/e-1715-0008.html Marteau]

*'''1718''': [Johann Friedrich Riederer], "Satyra von den Liebes-Romanen", from: ''Die abentheuerliche Welt in einer Pickelheerings-Kappe'', 2 ([Nürnberg,] 1718). German satire about the wide spread reading of novels and romances.  [http://www.pierre-marteau.com/editions/1718-liebes-romane.html Marteau]

*'''1718''': [Johann Friedrich Riederer], "Satyra von den Liebes-Romanen", from: ''Die abentheuerliche Welt in einer Pickelheerings-Kappe'', 2 ([Nürnberg,] 1718). German satire about the wide spread reading of novels and romances.  [https://www.pierre-marteau.com/editions/1718-liebes-romane.html Marteau]

*'''1742''': Henry Fielding, preface to ''Joseph Andrews'' (London, 1742). The "comic epic in prose" and its poetics. [http://www.munseys.com/diskone/joeandrewdex.htm Munseys]

*'''1742''': Henry Fielding, preface to ''Joseph Andrews'' (London, 1742). The "comic epic in prose" and its poetics. [https://www.munseys.com/diskone/joeandrewdex.htm Munseys]

[[Category: General Reference]]

[[Category: General Reference]]

[[Category: Languages and Literature]]

[[Category: Languages and Literature]]