Monday, September 24, 2012

Theory of the Novel: Tobias Smollett. Preface to Roderick Random

It is no wonder that the ancients could not relish a fable in prose, after they had seen so many remarkable events celebrated in verse by their best poets.

But when the minds of men were debauched, by the imposition of priestcraft, to the utmost pitch of credulity, the authors of romance arose, and, losing sight of probability, filled their performances with the most monstrous hyperboles. If they could not equal the ancient poets in point of genius, they were resolved to excel them in fiction, and apply to the wonder rather than the judg­ment of their readers.

Accordingly they brought necromancy to their aid, and instead of supporting the character of their heroes by dignity of sentiment and practice, distinguished them by their bodily strength, activity, and extravagance of behavior. Although nothing could be more ludicrous and unnatural than the figures they drew, they did not want patrons and admirers, and the world actually began to be infected with the spirit of knight-errantry, when Cervantes, by an inimitable piece of ridicule, reformed the taste of mankind, representing chivalry in the right point of view, and converting romance to purposes far more useful and entertaining, by making it assume the sock, and point out the follies of ordinary life.

The same method has been practiced by other Spanish and French authors, and by Monsieur Le Sage, who, in his Adventures of Gil Blas, has described the knavery and foibles of life, with infinite humor and sagacity.
Tobias Smollett. Preface to Roderick Random (1748)..

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