A novel is an extended work of narrative fiction usually written in prose and published as a book.[1] The English word to describe such a work derives from the Italian: novella for "new", "news", or "short story (of something new)", itself from the Latin: novella, a singular noun use of the neuter plural of novellus, diminutive of novus, meaning "new".[2] According to Margaret Doody, the novel has "a continuous and comprehensive history of about two thousand years", with its origins in the Ancient Greek and Roman novel, Medieval Chivalric romance, and in the tradition of the Italian Renaissance novella.[3] The ancient romance form was revived by Romanticism, in the historical romances of Walter Scott and the Gothic novel.[4]Some novelists, including Nathaniel Hawthorne,[5] Herman Melville,[6] Ann Radcliffe,[7] and John Cowper Powys,[8] preferred the term "romance". M. H. Abrams and Walter Scott have argued that a novel is a fiction narrative that displays a realistic depiction of the state of a society, while the romance encompasses any fictitious narrative that emphasizes marvellous or uncommon incidents.[9][10][11] Works of fiction that include marvellous or uncommon incidents are also novels, including Mary Shelley's Frankenstein,[12] J. R. R. Tolkien's The Lord of the Rings,[13] and Harper Lee's To Kill a Mockingbird.[14] Such "romances" should not be confused with the genre fiction romance novel, which focuses on romantic love.
Recent technological developments have led to many novels also being published in non-print media: this includes audio books, web novels, and ebooks. Another non-traditional fiction format can be found in graphic novels. While these comic book versions of works of fiction have their origins in the 19th century, they have only become popular recently.
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A novel is a long, fictional narrative. The novel in the modern era usually makes use of a literary prose style. The development of the prose novel at this time was encouraged by innovations in printing, and the introduction of cheap paper in the 15th century.
East Asian countries, like China, Korea, Vietnam and Japan, use the wordĀ (pinyin: xioshu), which literally means "small talks", to refer works of fiction of whatever length.[22] In Chinese, Japanese and Korean cultures, the concept of novel as it is understood in the Western world was (and still is) termed as "long length small talk" (), novella as "medium length small talk" (), and short stories as "short length small talk" (). However, in Vietnamese culture, the termĀ exclusively refers toĀ (long-length small talk), i.e. standard novel, while different terms are used to refer to novella and short stories.
Such terms originated from ancient Chinese classification of literature works into "small talks" (tales of daily life and trivial matters) and "great talks" ("sacred" classic works of great thinkers like Confucius). In other words, ancient definition of "small talks" merely refer to trivial affairs, trivial facts, and can be different from the Western concept of novel. According to Lu Xun, the word "small talks" first appeared in the works of Zhuang Zhou, which coined such word. Later scholars also provided similar definition, such as Han dynasty historian Ban Gu categorized all the trivial stories and gossips collected by local government magistrates as "small talks". H Nguyn Trng classified his memoir collection Nam ng mng lc as "small talks" clearly with the meaning of "trivial facts" rather than the Western definition of novel. Such classification and also left strong legacy in several East Asian interpretations of Western definition of novel at the time when Western literature was first introduced to East Asian countries. For example, Thanh Lng and Nht Linh classified the epic poems such as The Tale of Kiu as "novel", while Trn Chnh Chiu emphasized the "belongs to the commoners", "trivial daily talks" aspect in one of his work.[23][24][25][26][27]
The earliest novels include classical Greek and Latin prose narratives from the first century BC to the second century AD, such as Chariton's Callirhoe (mid 1st century), which is "arguably the earliest surviving Western novel",[28] as well as Petronius' Satyricon, Lucian's True Story, Apuleius' The Golden Ass, and the anonymous Aesop Romance and Alexander Romance. The style of these works was later adapted in later Byzantine novels such as Hysimine and Hysimines by Eustathios Makrembolites[29] Narrative forms were also developed in Classical Sanskrit in India during the 5th through 8th centuries. Vasavadatta by Subandhu, Daakumracarita and Avantisundarkath by Dain, and Kadambari by Banabhatta are among notable works. These narrative forms were influenced by much older classical Sanskrit plays and drama literature.[citation needed]
The European developments of the novel did not occur until after the invention of the printing press by Johannes Gutenberg around 1439, and the rise of the publishing industry over a century later.[30] Long European works continued to be in poetry in the 16th century. The modern European novel is often said to have begun with Don Quixote in 1605.[16] Another important early novel was the French pastoral novel L'Astre by Honore d'Urfe, published in 1610.
A market of literature in the modern sense of the word, that is a separate market for fiction and poetry, did not exist until the late seventeenth century. All books were sold under the rubric of "History and politicks" in the early 18th century, including pamphlets, memoirs, travel literature, political analysis, serious histories, romances, poetry, and novels.
Prefaces and title pages of seventeenth and early eighteenth century fiction acknowledged this pattern: histories could claim to be romances, but threaten to relate true events, as in the RomanĀ clef. Other works could, conversely, claim to be factual histories, yet earn the suspicion that they were wholly invented. A further differentiation was made between private and public history: Daniel Defoe's Robinson Crusoe was, within this pattern, neither a "romance" nor a "novel". It smelled of romance, yet the preface stated that it should most certainly be read as a true private history.[44]
The rise of the modern novel as an alternative to the chivalric romance began with the publication of Miguel de Cervantes' novel Don Quixote:[45][46] "the first great novel of world literature".[47] It continued with Scarron's Roman Comique (the first part of which appeared in 1651), whose heroes noted the rivalry between French romances and the new Spanish genre.[48]In Germany an early example of the novel is Simplicius Simplicissimus by Hans Jakob Christoffel von Grimmelshausen, published in 1668,
Late 17th-century critics looked back on the history of prose fiction, proud of the generic shift that had taken place, leading towards the modern novel/novella.[49] The first perfect works in French were those of Scarron and Madame de La Fayette's "Spanish history" Zayde (1670). The development finally led to her Princesse de Clves (1678), the first novel with what would become characteristic French subject matter.[50][51]
Europe witnessed the generic shift in the titles of works in French published in Holland, which supplied the international market and English publishers exploited the novel/romance controversy in the 1670s and 1680s.[52] Contemporary critics listed the advantages of the new genre: brevity, a lack of ambition to produce epic poetry in prose; the style was fresh and plain; the focus was on modern life, and on heroes who were neither good nor bad.[53] The novel's potential to become the medium of urban gossip and scandal fueled the rise of the novel/novella. Stories were offered as allegedly true recent histories, not for the sake of scandal but strictly for the moral lessons they gave. To prove this, fictionalized names were used with the true names in a separate key. The Mercure Gallant set the fashion in the 1670s.[54] Collections of letters and memoirs appeared, and were filled with the intriguing new subject matter and the epistolary novel grew from this and led to the first full blown example of scandalous fiction in Aphra Behn's Love-Letters Between a Nobleman and His Sister (1684/ 1685/ 1687). Before the rise of the literary novel, reading novels had only been a form of entertainment.[55]
However, one of the earliest English novels, Daniel Defoe's Robinson Crusoe (1719), has elements of the romance, unlike these novels, because of its exotic setting and story of survival in isolation. Crusoe lacks almost all of the elements found in these new novels: wit, a fast narration evolving around a group of young fashionable urban heroes, along with their intrigues, a scandalous moral, gallant talk to be imitated, and a brief, concise plot.[citation needed] The new developments did, however, lead to Eliza Haywood's epic length novel, Love in Excess (1719/20) and to Samuel Richardson's Pamela, or Virtue Rewarded (1741).[citation needed] Some literary historians date the beginning of the English novel with Richardson's Pamela, rather than Crusoe.[56]
The idea of the "rise of the novel" in the 18th century is especially associated with Ian Watt's influential study The Rise of the Novel (1957).[57] In Watt's conception, a rise in fictional realism during the 18th century came to distinguish the novel from earlier prose narratives.[58]
Philosophical fiction was not exactly new. Plato's dialogues were embedded in fictional narratives and his Republic is an early example of a Utopia. Ibn Tufail's 12th century Philosophus Autodidacticus with its story of a human outcast surviving on an island, and the 13th century response by Ibn al-Nafis, Theologus Autodidactus are both didactic narrative works that can be thought of as early examples of a philosophical[60] and a theological novel,[61] respectively. 0852c4b9a8
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