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Realism.This is seen in Defoe's and Fielding's preoccupations with the word "History" (and the need to defend themselves against accusations of lying, and in their attempts to make their works as realistic as possible, whether by using first person narration as in Moll Flanders and Robinson Crusoe, or by relying on Aristolean notions of "mimesis". An altemative tactic was to use epistolary form, most notably in the works of Richardson, (and burlesqued by Fielding in Shamela), or to use consciously anti-romance forms as a means of asserting the realism of their writing. The predecessor here had been Cervantes, in his anti-romance, and the tradition continues in Middlemarch, where George Eliot uses phrases such as the "home epic" as a means of affirming the value of the presentation of ordinary experience.A key concern in terms of the development of the eighteenth century novel is the recurring preoccupation with realism, and realistic depiction of society.


النص الأصلي

Realism. A key concern in terms of the development of the eighteenth century novel is the recurring preoccupation with realism, and realistic depiction of society. This is seen in Defoe's and Fielding's preoccupations with the word "History" (and the need to defend themselves against accusations of lying, and in their attempts to make their works as realistic as possible, whether by using first person narration as in Moll Flanders and Robinson Crusoe, or by relying on Aristolean notions of "mimesis". An altemative tactic was to use epistolary form, most notably in the works of Richardson, (and burlesqued by Fielding in Shamela), or to use consciously anti-romance forms as a means of asserting the realism of their writing. The predecessor here had been Cervantes, in his anti-romance, and the tradition continues in Middlemarch, where George Eliot uses phrases such as the "home epic" as a means of affirming the value of the presentation of ordinary experience. One way of asserting the value of the new novel technique was to show how its fidelity to the "real" was more accurate than ealier forms, such as romance, chronicle, fable.

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