Fielding as a master of novel genre

MINISTRY OF HIGHER AND SECONDARY SPECIAL
EDUCATION OF THE REPUBLIC OF UZBEKISTAN

SAMARKAND STATE INSTITUTE OF FOREIGN
LANGUAGES

ENGLISH FACULTY I
COURSE WORK

THEME:”FIELDING AS A MASTER OF NOVEL GENRE”
SCIENTIFIC SUPERVISOR:BEGBUDIYEVA P.SH
DONE BY:NURULLAYEVA B.Z
GROUP :2106
SAMARKAND 2023
CONTENTS
Introduction………………………………………………………………...3
Main part
1. Biography of Henry Fielding …………………………………….…………...7
2. Fielding’s works and their analysis ………………………………………....10
3. Fielding’s Realism, Humour and Satire..................................................31
4. Healthy Morality and Philosophy of Life…………………………..………32
5. Morality and the Epic Theory in Henry Fielding's novels………………...…34
Conclusion …………………………………………………………………
The list of used literature................................................................................

Introduction
The eighteenth century–“our excellent and indispensable eighteenth century”-is known in the history of English literature particularly for the birth and development of the novel. In this century the novel threw into insignificance all other literary forms and became the dominant form to continue as such for hundreds of years.
The pioneers of the novel were Richardson, Fielding, Smollett, and Sterne. 
The work of this foursome is of monumental significance, particularly because they were not only our first novelists but some of our best. No doubt the seeds of the novel were already there in the English literary soil but they burgeoned only with the arrival of these masters. Addison and Steele (Coverley papers’), Defoe, and Swift (Gulliver’s Travels) had already provided the raw material for them to work upon. It is debatable whether Defoe be denied the title of “the father of the English novel”, as many of his stories like Moll Flanders, Roxana, and Robinson Crusoe are very close to being novels, if at all they are considered not to be genuine novels. Whether Defoe was”, observes David Daiches rightly, “properly a novelist is a matter of definition of terms, but however we define our terms we must concede that there is an important difference between Defoe’s journalistic deadpan and the bold attempt to create a group of people faced with psychological problems.Defoe was a realist in his own right, but his “interest in character was minimal.” Critical opinion, therefore, is not inclined to accept Defoe as the first true English novelist or even as one of the pioneers of the novel.
Henry Fielding’s (22 April 1707 – 8 October 1754) lasting achievements in prose fiction—in contrast to his passing fame as an essayist, dramatist, and judge—result from his development of critical theory and from his aesthetic success in the novels themselves. In the preface to The History of the Adventures of Joseph Andrews, and of His Friend Mr. Abraham Adams, more commonly known as Joseph Andrews, Fielding establishes a serious critical basis for the novel as a genre and describes in detail the elements of comic realism; in Joseph Andrews and The History of Tom Jones, a Foundling, popularly known as Tom Jones, he provides full realizations of this theory. These novels define the ground rules of form that would be followed, to varying degrees, by Jane Austen, William Makepeace Thackeray, George Eliot, Thomas Hardy, James Joyce, and D. H. Lawrence, and they also speak to countless readers across many generations. Both, in fact, were translated into successful films (Tom Jones, 1963; Joseph Andrews, 1978).