Answer

Introduction

Catherine Gallagher’s groundbreaking work, “The Rise of Fictionality,” published in 1989, introduced the concept that fictionality as a distinct literary concept began to emerge during the 18th century. Her thesis focuses on how the 18th century marked a crucial turning point in the development of fiction as a literary genre. This essay will examine specific instances in select 18th-century novels that provide evidence for Gallagher’s ideas of fictionality, drawing from the following scholarly sources: Gallagher (1989), Watt (2018), McKeon (2019), Hunter (2019), and DeJean (2020).

Evidence of Fictionality in 18th Century Novels

The 18th century witnessed a significant transformation in the world of literature, particularly in the realm of fiction. Catherine Gallagher’s seminal work, “The Rise of Fictionality,” published in 1989, offers a compelling framework for understanding how fiction as a literary concept began to take shape during this period (Gallagher 1989). This essay explores the evidence of fictionality in 18th-century novels, with a focus on two iconic works: Daniel Defoe’s “Robinson Crusoe” and Samuel Richardson’s “Pamela.” Through an analysis of these novels, we delve into specific moments that align with Gallagher’s ideas, which are substantiated by the scholarly sources of Watt (2018), McKeon (2019), and Hunter (2019).

Robinson Crusoe: A Fictional Autobiography

In the world of 18th-century literature, Daniel Defoe’s “Robinson Crusoe” stands as a pioneering work that challenges conventional notions of fiction and reality. Defoe’s narrative structure in “Robinson Crusoe” exemplifies the blurring of fact and fiction—a central theme in Gallagher’s exploration of fictionality (Gallagher 1989). The novel presents itself as a fictional autobiography, wherein the protagonist, Robinson Crusoe, is depicted as a real person recounting his life experiences in vivid detail.

Defoe’s meticulous detailing of Crusoe’s adventures on the deserted island provides a compelling example of this blending of fact and fiction. Watt (2018) aptly notes that Defoe’s narrative strategy aims to immerse the reader in the protagonist’s world, making it feel as though the events are recounted by a real person. This technique contributes to the emergence of fictionality, as it encourages readers to suspend disbelief and engage with the narrative as if it were a true account.

Moreover, the character of Robinson Crusoe undergoes profound inner transformation throughout the novel, and readers are privy to his innermost thoughts and emotions. This focus on individual subjectivity, as highlighted by McKeon (2019), mirrors the growing importance of character development and introspection in 18th-century literature. Gallagher’s thesis on the rise of fictionality gains further support when considering the depth of character exploration within the novel.

Pamela: Epistolary Fiction and Fictional Realities

Moving from the adventures of Robinson Crusoe to the world of Samuel Richardson’s “Pamela,” we encounter another facet of fictionality that aligns with Gallagher’s ideas. “Pamela” is presented in the epistolary form, a literary technique that gained popularity during the 18th century. As Hunter (2019) discusses, this form consists of characters communicating through letters, providing readers with a unique window into their inner lives, thoughts, and emotions.

The epistolary form is instrumental in creating a sense of intimacy between the characters and the reader. Readers become confidants, privy to the characters’ most personal reflections. Richardson’s use of fictional letters blurs the line between reality and fiction, as emphasized by Gallagher in her exploration of fictionality (Gallagher 1989). The letters, though constructed by the author, carry the weight of authenticity, contributing to the sense that readers are engaging with a narrative that closely resembles personal correspondence.

The significance of the epistolary form in “Pamela” aligns with Gallagher’s assertion that the 18th century witnessed the rise of fictionality as a prominent literary concept. The technique not only engages readers on a personal level but also underscores the idea that fiction was evolving to capture the nuances of human experience in a more intricate and lifelike manner.

The Emergence of Novelistic Forms

As we delve deeper into the examination of the evidence of fictionality in 18th-century novels, one significant aspect that warrants consideration is the emergence of novelistic forms. Catherine Gallagher’s thesis in “The Rise of Fictionality” emphasizes the transformative period during the 18th century when literature underwent a shift towards more sophisticated and novelistic storytelling (Gallagher 1989).

Daniel Defoe’s “Robinson Crusoe,” a foundational work of the 18th century, encapsulates the essence of novelistic forms. Ian Watt (2018) posits that Defoe’s narrative style in the novel aligns with the characteristics of the novelistic form, particularly in its meticulous attention to detail and character development. The narrative intricacies within “Robinson Crusoe” extend beyond a mere adventure story; they delve into the psychological depths of the protagonist and explore his emotional journey, mirroring the burgeoning emphasis on character psychology characteristic of novelistic forms.

Moreover, Michael McKeon’s work on the origins of the English novel (2019) complements Gallagher’s thesis by highlighting the narrative innovations that emerged during the 18th century. McKeon emphasizes that this period witnessed a departure from traditional forms of storytelling, as exemplified in earlier literary genres such as epic poetry or romance. Instead, novelistic forms allowed for a more realistic and detailed exploration of characters, their motivations, and the intricate interplay of their lives.

In “Robinson Crusoe,” readers encounter a protagonist who undergoes significant personal growth and transformation throughout the narrative. This emphasis on character development aligns with the novelistic form’s inclination toward portraying the complexities of human nature. Crusoe’s inner struggles, his adaptation to life on a deserted island, and his ultimate redemption are all facets of storytelling that underscore the novel’s novelistic qualities.

Similarly, Samuel Richardson’s “Pamela” exhibits the hallmarks of novelistic forms. In “Pamela,” readers are introduced to a narrative that centers on the psychology and emotional experiences of the characters, particularly the titular character, Pamela. Richardson’s portrayal of Pamela’s internal conflicts, her emotional journey, and her responses to the challenges she faces serve as a testament to the novel’s commitment to exploring the intricacies of human behavior.

Furthermore, J. Paul Hunter’s exploration of the cultural contexts of 18th-century English fiction (2019) reinforces the notion of the emergence of novelistic forms. Hunter suggests that the 18th century was a period characterized by a shift in literary sensibilities, where authors began to pay greater attention to the inner lives and emotional landscapes of their characters. This shift aligns with Gallagher’s ideas about the rise of fictionality, as novelistic forms were instrumental in forging a deeper connection between readers and the characters they encountered in literature.

In essence, the evidence of fictionality in 18th-century novels, particularly the works of Daniel Defoe and Samuel Richardson, demonstrates a deliberate move towards novelistic forms. These forms allowed for a more nuanced exploration of character psychology, emotional depth, and the intricate interplay of human lives. As Gallagher (1989) contends, the 18th century marked a pivotal moment in the evolution of fiction as a literary genre, and the emergence of novelistic forms played a crucial role in this transformation.

The emergence of novelistic forms in 18th-century novels provides compelling evidence for Catherine Gallagher’s thesis on the rise of fictionality. Through the meticulous attention to character development, psychological exploration, and narrative intricacies, authors like Defoe and Richardson contributed to the evolution of fiction as a genre that would continue to captivate readers and shape the literary landscape for centuries to come. This shift in narrative focus and style underscores the significance of the 18th century as a period of innovation and transformation in the world of literature, as supported by scholarly sources such as Watt (2018), McKeon (2019), and Hunter (2019).

Conclusion

In conclusion, the evidence from select 18th-century novels, such as “Robinson Crusoe” and “Pamela,” aligns with Catherine Gallagher’s ideas regarding the rise of fictionality during this period. The blurring of fact and fiction, the emergence of novelistic forms, and the use of techniques like the epistolary form all support Gallagher’s thesis. These novels serve as valuable examples of how fiction as a literary genre was evolving during the 18th century, as discussed in scholarly sources by Watt (2018), McKeon (2019), and Hunter (2019).

References

DeJean, J. (2020). The Reinvention of Obscenity: Sex, Lies, and Tabloids in Early Modern France. University of Chicago Press.

Gallagher, C. (1989). The Rise of Fictionality. Representations, 27(1), 89-108.

Hunter, J. P. (2019). Before Novels: The Cultural Contexts of Eighteenth-Century English Fiction. W. W. Norton & Company.

McKeon, M. (2019). The Origins of the English Novel, 1600-1740. Johns Hopkins University Press.

Watt, I. (2018). The Rise of the Novel: Studies in Defoe, Richardson, and Fielding. University of California Press.