The History of Tom Jones, A Foundling, Volumen1

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Wesleyan University Press, 1983 - 990 páginas

The best edition available, with a critical introduction, chronology and bibliography.

The Wesleyan edition of Tom Jones is widely acknowledged as the best available, and this new paperback reproduces the handsomely composed text and notes of that edition. A new Critical Introduction, a brief chronology of Fielding's life, and a selected bibliography of relevant criticism especially designed for student use have been added. The map – "A Geography of Tom Jones" – has been retained, while the General and Textual Introduction and six bibliographical Appendices of the two volume clothbound edition have been omitted.

"This edition offers a critical unmodernized text of Tom Jones. The text is critical in that it has been established by application of analytical criticism to the evidence of the various documentary forms in which the novel has appeared. It is unmodernized in that every effort has been made to present the text in as close a form to Fielding's own inscription and final revision as the surviving documents permit, subject only to normal editorial regulations."
- from the Textual Introduction

Dentro del libro

Páginas seleccionadas

Contenido

BOOK I
31
CHAPTER III
37
CHAPTER V
45
CHAPTER VII
51
CHAPTER IX
58
The Hospitality of Allworthy with a short Sketch of the Characters
60
CHAPTER XII
69
BOOK II
75
Jones arrives at Gloucester and goes to the Bell the Character of that
430
CHAPTER XI
451
CHAPTER XII
460
CHAPTER XIII
466
CHAPTER XIV
474
CHAPTER XV
481
BOOK IX
487
CHAPTER III
499

CHAPTER III
81
CHAPTER V
91
CHAPTER VIII
108
BOOK III
116
CHAPTER III
123
CHAPTER V
131
In which the Author himself makes his Appearance on the Stage
140
CHAPTER X
147
BOOK IV
150
CHAPTER VI
171
CHAPTER VIII
177
CHAPTER IX
184
A Story told by Mr Supple the Curate The Penetration of Squire
187
CHAPTER XII
196
CHAPTER XIV
203
BOOK V
209
CHAPTER V
226
CHAPTER VI
234
CHAPTER VIII
245
CHAPTER X
255
BOOK VI
268
CHAPTER III
279
CHAPTER V
286
Containing a Dialogue between Sophia and Mrs Honour which
290
CHAPTER VIII
298
CHAPTER X
305
CHAPTER XIII
316
BOOK VII
323
CHAPTER II
330
CHAPTER IV
338
CHAPTER VII
348
CHAPTER XI
366
The Adventure of a Company of Officers
370
CHAPTER XIII
378
CHAPTER XIV
384
CHAPTER XV
390
CHAPTER II
407
CHAPTER IV
413
CHAPTER VI
422
In which the Arrival of a Man of War puts a final End to Hostilities
505
CHAPTER VI
513
BOOK X
523
CHAPTER III
533
CHAPTER VI
546
CHAPTER IX
559
BOOK XI
566
The Adventures which Sophia met with after her leaving Upton
571
CHAPTER III
579
CHAPTER V
586
CHAPTER VIII
602
BOOK XII
619
CHAPTER III
625
The Adventure of a BeggarMan
631
Containing the Space of Twelve Days
683
CHAPTER III
693
CHAPTER VI
706
CHAPTER VII
712
CHAPTER VIII
718
CHAPTER XI
729
CHAPTER XII
736
Containing two Days
739
CHAPTER III
748
CHAPTER VII
765
BOOK XV
783
By which it will appear how dangerous an Advocate a Lady is when
794
CHAPTER VII
807
CHAPTER X
822
BOOK XVI
832
BOOK XVII
875
The generous and grateful Behaviour of Mrs Miller
877
CHAPTER V
892
CHAPTER VII
898
BOOK XVIII
913
CHAPTER III
920
CHAPTER V
930
Chronology of Important Dates
985
Index to the Corrections 991
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Acerca del autor (1983)

Henry Fielding, 1707 - 1754 A succcessful playwright in his twenties, Henry Fielding turned to the study of law and then to journalism, fiction, and a judgeship after his Historical Register, a political satire on the Walpole government, contributed to the censorship of plays that put him out of business. As an impoverished member of the upper classes, he knew the country squires and the town nobility; as a successful young playwright, the London jet set; as a judge at the center of London, the city's thieves, swindlers, petty officials, shopkeepers, and vagabonds. As a political journalist (editor-author of The Champion, 1739-1741; The True Patriot, 1745-1746; The Jacobite's Journal, 1747-1748; The Covent-Garden Journal, 1752), he participated in argument and intrigue over everything from London elections to national policy. He knowledgeably attacked and defended a range of politicians, from ward heelers to the Prince of Wales. When Fielding undertook writing prose fiction to ridicule the simple morality of Pamela by Samuel Richardson, he first wrote the hilarious burlesque Shamela (1741). However, he soon found himself considering all the forces working on humans, and in Joseph Andrews (1742) (centering on his invented brother of Pamela), he played with the patterns of Homer, the Bible, and Cervantes to create what he called "a comic epic poem in prose." His preface describing this new art form is one of the major documents in literary criticism of the novel. Jonathan Wild, a fictional rogue biography of a year later, plays heavily with ironic techniques that leave unsettled Fielding's great and recurring theme: the difficulty of uniting goodness, or an outflowing love of others, with prudence in a world where corrupted institutions support divisive pride rather than harmony and self-fulfillment. In his masterpiece Tom Jones (1749), Fielding not only faces this issue persuasively but also shows for the first time the possibility of bringing a whole world into an artistic unity, as his model Homer had done in verse. Fielding develops a coherent and centered sequence of events-something Congreve had done casually on a small scale in Incognita 60 years before. In addition he also relates the plot organically to character and theme, by which he gives us a vision of the archetypal good person (Tom) on a journey toward understanding. Every act by every character in the book reflects the special and typical psychology of that character and the proper moral response. In Tom Jones, Fielding affirms the existence of an order under the surface of chaos. In his last novel, Amelia (1751), which realistically examines the misery of London, he can find nothing reliable except the prudent good heart, and that only if its possessor escapes into the country. Fielding based the title character on his second wife, with whom he was deeply in love. However, ill himself, still saddened by the deaths of his intensely loved first wife and daughter, and depressed by a London magistrate's endless toil against corruption, Fielding saw little hope for goodness in that novel or in his informal Journal of a Voyage to Lisbon (1755). Shortly after traveling to Lisbon for his health, Fielding died at the age of 47, having proved to his contemporaries and successors that the lowly novel was capable of the richest achievements of art.

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