Showing results by author "Henry Fielding" in All Categories

Riotous, sexy and groundbreaking, Henry Fielding's Joseph Andrews: The History of the Adventures of Joseph Andrews and His Friend Mr. Abraham Adams, published in 1742, was one of the first English novels. Fielding was melding and parodying the two major forces battling for control of the fiction market at the time - the mock heroic, neoclassical tradition as practiced by Pope and Swift and the popular and populist fiction of the new novelists such as Defoe and Richardson.

Tom Jones, a foundling, is brought up by the kindly Mr. Allworthy as if he were his own son. Forced to leave the house as a young man after tales of his disgraceful behavior reach his benefactor's ears, he sets out in utter despair, not only because of his banishment but because he has now lost all hope of gaining the hand of the beautiful Sophia. But she too is forced to flee her parental home to escape an undesirable marriage and their stories and adventures intertwine.

Tom Jones is a splendid Hogarthian panorama of 18th century English life and morals, encompassing both city and country, and comprising some of the greatest comic characters in British literature. First published in 1749, it was an instant success and has gone on to become a classic of its genre. Quite simply, there has never been anything like it.

A foundling of mysterious parentage, Tom Jones is brought up by the benevolent and wealthy Squire Allworthy as his own son. Tom falls in love with the beautiful and unattainable Sophia Western, a neighbor’s daughter, whose marriage has already been arranged. When Tom’s sexual misadventures around the countryside get him banished, he sets out to make his fortune and find his true identity.

In one of the first novels in the English language, we follow the picaresque adventures of Joseph Andrews, a virtuous young man who is keen to maintain his innocence despite being coerced by nearly every woman he encounters.

Shamela is a bawdy, spirited, and hilarious response to Samuel Richardson's hugely popular 1740 novel, Pamela. In this pointed satire, Shamela (which transpires to be the real name of Richardson's Pamela) reveals the ulterior motives behind the events that took place in Pamela. Shamela is unlike the virtuous young lady portrayed in Richardson's novel and she takes command of her master, Squire Booby. Our heroine has planned it all out from the start and she is determined to entrap her master into marriage.

The ‘Voice of the Year’ competition introduced and sponsored by Naxos AudioBooks and The Times books pages, edited by Erica Wagner, took place in Spring 2004. Readers without any formal drama training or professional acting experience were invited to send in recordings of a short extract of either Dickens, Austen or from The Wind in the Willows by Kenneth Grahame and an own choice. The judging panel - Martin Jarvis, Juliet Stevenson, and Anton Lesser, with John Tydeman, David Timson, and Christina Hardyment....

Henry Fielding’s riotous tale of innocents in a corrupt world was one of the earliest English novels, blending bawdy slapstick, philosophical musing, and pointed social satire to create a work of moral complexity and generous, life-affirming humanity. Published in 1742, it tells the story of the chaste servant Joseph Andrews who, after being sacked for spurning the advances of the lascivious Lady Booby, takes to the road, accompanied by his beloved Fanny Goodwill and the absent-minded, much put-upon Parson Adams.

A BBC Radio 4 full-cast dramatisation of Henry Fielding's rollicking comic masterpiece. Found one evening in the bed of the rich and benevolent Mr Allworthy, baby Tom grows up in the guardianship of the kindly squire. He develops into a good-hearted fellow who is nonetheless resented by Allworthy's mean-natured heir and nephew, Blifil. Tom's naive inability to resist a pretty face lands him in hot water when the gamekeeper's daughter declares herself pregnant.

Dubbed 'the father of the English novel' by Sir Walter Scott, Henry Fielding is well known for his ribald humour and ironic, satirical fiction. Collected here are four of his most famous works, including his comic masterpiece Tom Jones, as well as a fascinating documentary exploring the foundling motif in fiction.

Tom Jones by Henry Fielding is a comedic novel that follows the life and adventures of its foundling protagonist, Tom Jones, as he navigates through love, betrayal, and society's expectations. The novel is celebrated for its vivid characters, intricate plot, and exploration of human nature and morality, making it a significant work in the development of the novel as a literary form. Fielding's satirical lens critiques the hypocrisy of 18th-century British society while ultimately advocating for virtue and goodness.

The real Jonathan Wild, born about 1682 and executed at Tyburn in 1725, was one of the most notorious criminals of his age. His resemblance to the hero in Fielding's satire of the same name is general rather than particular. The real Jonathan (whose legitimate business was that of a buckle-maker) like Fielding, won his fame, not as a robber himself, but as an informer, and a receiver of stolen goods.

Tom Jones is a splendid Hogarthian panorama of 18th-century English life and morals, encompassing both city and country, and comprising some of the greatest comic characters in British literature. First published in 1749, it was an instant success and has gone on to become a classic of its genre. Quite simply, there has never been anything like it.

Penguin Classics presents Henry Fielding’s Tom Jones, adapted for audio and available as a digital download as part of the Penguin English Library series. Read by the actor Robert Lindsay. ‘Sir, I am concerned at the Trouble I give you; nay indeed my Nakedness may well make me ashamed to look you in the Face… Jones offered her his Coat; but, I know not for what Reason, she absolutely refused the most earnest Solicitations to accept it’.

Tom Jones is widely regarded as one of the first and most influential English novels. It is certainly the funniest. Tom Jones, the hero of the book, is introduced to the reader as the ward of a liberal Somerset squire. Tom is a generous but slightly wild and feckless country boy with a weakness for young women. Misfortune, followed by many spirited adventures as he travels to London to seek his fortune, teach him a sort of wisdom to go with his essential good-heartedness.

Volume 2 continues our story by picking up with the flight of Sophia from her father, Squire Western, and continues the journey of Tom as he ponders his future on the road to London. In a series of tightly constructed plot twists and turns, Tom and Sophia end up at the same inn, unbeknownst to one another. Meanwhile, a plethora of new characters are introduced.

In our last book we have been obliged to deal pretty much with the passion of love; and in our succeeding book shall be forced to handle this subject still more largely. It may not therefore in this place be improper to apply ourselves to the examination of that modern doctrine, by which certain philosophers, among many other wonderful discoveries, pretend to have found out, that there is no such passion in the human breast.

Tom Jones is greatly admired not only for the meticulous craft with which it was written, but also for its humor, objectivity and penetrating psychological depth. It is without a doubt one of the great contributions to the English novel, and as such will always maintain a place of honor in world literature. Through the minute examination of the motives of his characters, Henry Fielding revealed many universal truths about human nature.

Though we have properly enough entitled this our work, a history, and not a life; nor an apology for a life, as is more in fashion; yet we intend in it rather to pursue the method of those writers, who profess to disclose the revolutions of countries, than to imitate the painful and voluminous historian, who, to preserve the regularity of his series, thinks himself obliged to fill up as much paper with the detail of months and years in which nothing remarkable happened, as he employs upon those notable aeras when the greatest scenes have been transacted on the human stage.

Among other good uses for which I have thought proper to institute these several introductory chapters, I have considered them as a kind of mark or stamp, which may hereafter enable a very indifferent reader to distinguish what is true and genuine in this historic kind of writing, from what is false and counterfeit. Indeed, it seems likely that some such mark may shortly become necessary, since the favourable reception which two or three authors have lately procured for their works of this nature from the public, will probably serve as an encouragement to many others to undertake the like.