Pamela

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ReadHowYouWant.com, Nov 1, 2006 - Fiction - 332 pages
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Richardson's novel is among the first English novels to explore the inner depths of human psychology. Told in a series of letters, his classic tale of a virginal serving maid pursued by her employer deals with matters that were unexplored when it was written in 1740. A true classic ...
 

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Contents

CHAPTER 1
1
CHAPTER 2
124
CHAPTER 3
127
CHAPTER 4
162
CHAPTER 5
168
CHAPTER 6
178
CHAPTER 7
190
CHAPTER 8
193
CHAPTER 15
224
CHAPTER 16
225
CHAPTER 17
235
CHAPTER 18
239
CHAPTER 19
252
CHAPTER 20
254
CHAPTER 21
255
CHAPTER 22
256

CHAPTER 9
198
CHAPTER 10
199
CHAPTER 11
206
CHAPTER 12
215
CHAPTER 13
217
CHAPTER 14
220
CHAPTER 23
259
CHAPTER 24
279
CHAPTER 25
283
CHAPTER 26
298
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About the author (2006)

A printer and bookseller who wrote love letters for servant girls as an apprentice, studied nights to improve himself, and married the boss's daughter, Samuel Richardson undertook at age 50 to write a book of sample courtesy notes, marriage proposals, job applications, and business letters for young people. While imagining situations for this book, he recalled an old scandal and developed it into Pamela, or Virtue Rewarded (1740--44), a novel about a servant girl whose firmness, vitality, literacy, and superior intelligence turn her master's lust into a decorous love that leads to their marriage. All of Pamela's virtues of fresh characterization, immediacy (what Richardson called "writing to the moment" of the character's consciousness), and the involvement of the reader in the character's intense and fluctuating fantasies, together with a much more focused seriousness, a more varied and differentiated cast of letter writers, and a more fundamental examination of moral and social issues, make his second novel, Clarissa Hawlowe (1747--48), a masterpiece. Although anyone who reads this huge novel for its plot may hang himself (as Richardson's friend Samuel Johnson said), readers have been fascinated by the complex conflict between Clarissa Harlowe and Robert Lovelace, two of the most fully realized characters, psychologically and socially, in all of literature. Like such great successors as Rousseau (see Vol. 3), an acknowledged follower of Richardson, Dostoevsky (see Vol. 2), and D. H. Lawrence, Richardson understands and shows us, in Diderot's (see Vols. 2 and 4) appreciative image, the black recesses of the cave of the mind. Although Richardson's last novel, Sir Charles Grandison (1753--54), like Pamela Part II , mainly undertakes comic delineation of manners, it also examines the serious issues of love between a Protestant and a Catholic, and experiments technically with flashbacks, with stenographic reports, and most assertively with a pure hero, a male Clarissa of irresistible charm and power. At its best, Richardson's work fuses the epistolary technique, the use of dramatic scenes, the traditions of religious biography, and the elements of current romantic fiction to achieve precise analysis, an air of total verisimilitude, and a vision of a world of primal psychological forces in conflict.

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