Theatre and the novel from Behn to Fielding - WebLearn

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Theatre and the novel
from Behn to Fielding
ANNE F. WIDMAYER
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Theatre and the novel, from Behn to Fielding
ANNE F. WIDMAYER
Ever since Ian Watt’s The Rise of the novel (1957), many critics have argued that a
constitutive element of the early ‘novel’ is its embrace of realism. Anne F. Widmayer
contends, however, that Restoration and early eighteenth-century prose narratives
employ techniques that distance the reading audience from an illusion of reality;
irony, hypocrisy, and characters who are knowingly acting for an audience are
privileged, highlighting the artificial and false in fictional works.
Focusing on the works of four celebrated playwright-novelists, Widmayer explores
how the increased interiority of their prose characters is ridiculed by the use of
techniques drawn from the theatre to throw into doubt the novel’s ability to portray an
unmediated ‘reality’. Aphra Behn’s dramatic techniques question the reliability of
female narrators, while Delarivier Manley undermines the impact of women’s
passionate anger by suggesting the self-consciousness of their performances. In his
later drama, William Congreve subverts the character of the apparently objective
critic that is recurrent in his prose work, whilst Henry Fielding uses the figure of the
satirical writer in his rehearsal plays to mock the novelist’s aspiration to control the
way a reader reads the text. Through analysing how these writers satirize the reading
public’s desire for clear distinctions between truth and illusion, Anne F. Widmayer
also highlights the equally fluid boundaries between prose fiction and drama.
Introduction
1. Aphra Behn’s dramatic techniques in prose: credibility and female power
i. Behn’s and Southerne’s Oroonokos: individuals and groups
ii. Parallels between the narrator and Oroonoko
iii. Echoes of Rover I
2. Performed emotion in Delarivier Manley’s works: actors and voyeurs
i. Discovering emotion in Manley’s plays
ii. Scenes in Manley’s prose
iii. Validating female emotion in Memoirs of Europe and The Power of love
3. Hybrid dramatic-narrative techniques: William Congreve’s Incognita and The
Old batchelor
i. Staging lovers in Dryden’s Assignation and Congreve’s
Incognita
ii. Scarron’s influence upon Incognita
iii. Heartwell as satirical commentator in The Old batchelor
4. Abandoning control over ‘reality’: author-characters in Henry Fielding’s plays
i. The satirist satirized in Fielding’s author-character plays
ii. Author-characters as Fielding’s theatrical avatars
5. Self-conscious anti-realism: readers as actor-authors in Henry Fielding’s
prose
i. Fielding’s self-ironizing author-characters
ii. Novel characters who comment metatheatrically
6. Conclusion
Bibliography
Index
Anne F. Widmayer is a professor of English and Women’s Studies in the
University of Wisconsin Colleges. She has published performance studies of
Renaissance, Restoration, eighteenth-century, and contemporary drama. Her
most recent research interests are antitheatricalism in harlequinades and the
ironic portrayal of gender in British and French performance practices.
Oxford University Studies in the Enlightenment, July 2015
ISBN 978-0-7294-1165-3, xii+264 pages, £60 / €90 / $95
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