Short Questions and Answers of ‘Joseph Andrew’ Andrew’ by Fielding Who is Mrs Slip Slop. Describe her personality in your own words? Mrs Slip Slop is a woman servant of of Lady Booby who pursues Joseph . Physically she was an uly woman . Who is Betty? What type of irl she is? Betty is a warm!hearted chambermaid at at "ow!wouse #nn. She has ood nature but but lustful . Who is Lady Booby? Lady Booby is the widow of of Sir "homas Booby. she is hot!blood youn every way possible. woman . She tries to seduce Joseph every What is comic epic in prose? $omic epic in prose is an epic presented comically that that consist of comic hero % comic fihts % comic &ourney etc etc not in poetry but in prose . What are the ma&or themes of 'Joseph (ndrews)? (ndrews)? "he ma&or themes of 'Joseph (ndrew) (ndrew) are helplessness and and power of oodness % affection % vanity % charity and and reliion % hypocrisy % and chastity % town and country% class and birth % reality verses appearance % etc.
Who is *anny? *anny? Describe her personality in your own words? *anny is the heroin of of the novel and she is a beautiful youn irl . She is entle% sweet and sensible irl. irl. Describe the personality of the Sureon in ' Joseph (ndrew)? (ndrew)?
"he Sureon is a comic character . +e tells Joseph that he will die soon due to his in&uries. Who is Betty? What is her role in the novel ' Joseph (ndrew)? Betty is a warm!hearted chambermaid at "ow!wouse #nn. She loo,s after Joseph at "ow! wouse #nn when he is in&ured by ruffains and fall in love with him . Joseph re&ects her amorous advances. Who is Mr. "rulliber? Describe his personality? Mr. "rulliber is a hypocritical country parson and he is a ho dealer . +e is completely lac,in the virtue of charity. +e parson only on Sunday. Who is Peter Pounce? Peter Pounce is a steward to Lady Booby. +e is a dishonest man . +e ma,es money from the waes of the servant)s of Lady Booby.
Briefly state two features of fieldin)s comic epic in prose? "wo features of *ieldin)s comic epic in prose are the combination of comic epic and prose epic % and the foundations for the novel . What different services were performed by Joseph for Sir "homas Booby? Joseph performed the different services for Sir "homas Booby are as stable boy and then footman to Sir "homas) wife Lady Booby. Parson (dam is considered as the real source of intrest in the novel . #t is true?? -es it is true that Parson (dam is considered as the real source of interest in the novel because of his absent mindedness% foretfulness and simple!mindedness . Who was parson Barnabas? Parson Barabas was a punch drin,in cleryman . +e is more intrested in discussions of leal matters than his reliious purpose.
Who were the real parents of Joseph? Mr. and Mrs. Wilson were the real parents of Joseph. (i) What is a novel? Ans. A novel is a long narratve, normally in prose, which describes fctonal characers and evens, usually in he orm o a sequental sory. "Pride and Prejudice" by ane Ausen and "A !ale o !wo ites" by harles #ic$ens are amous %nglish novels. (ii) What is Fielding's concept of novel? Ans. &n his preace o "oseph Andrews", 'ielding claims ha novel is a genre o writng "which & do no remember o have been hihero a(emped in our language". )e defned i as he "comic epic*poem in prose"+ a wor$ o prose fcton, epic in lengh and variey o inciden and characer, in he hypohetcal spiri o )omers los comic poem -argies. (iii) Write the names of four novels of Fielding. Ans. oseph Andrews /0123, onahan 4ild /0153, !om ones /0163 and Amelia /07/3 are he amous novels o )enry 'ielding. (iv) What factors inuenced Fielding in his concepon and composion of 'Joseph Andrews'? Ans. 'ieldings frs venure ino prose fcton came a year previously wih he publicaton in pamphle orm o 8hamela, a ravesy o, and direc response o, he sylistc ailing and moral hypocrisy ha 'ielding saw in 9ichardsons Pamela. !he impeus o he novel, as 'ielding claims in his preace, is he esablishmen o a genre o writng "which & do no remember o have been hihero a(emped in our language". (v) What is the purpose of the Author's reface in 'Joseph Andrews'? Ans. !he purpose o 'ieldings preace in "oseph Andrews" is o defne and deend his chosen genre, "comic*epic poem in prose". )e is partcularly concerned o di:erentae he comic epic, and comedy generally, rom burlesque. )e also deends he various vices insered in he novel. (vi) !ow is the novel 'Joseph Andrews' related to 'amela'? Ans. 'ielding wroe "8hamela" as a satrical response o 9ichardsons "Pamela", and his longer and more serious "oseph Andrews" li$ewise draws on 9ichardsons novel or an equivocal sor o inspiraton. 4hile "8hamela" is a sraigh;orward ravesy o "Pamlea", "oseph Andrews" is somehing more comple<, and is relaton o "Pamela" is somehing oher han he relaton o parody o original. (vii) "e#ne digression. Ans. A digression is a sylistc device auhors employ o creae a emporary deparure rom he main subjec o he narratve o ocus on apparenly unrelaed opics, e
oo$ ? o he "&liad". (viii) What is the purpose of digression in 'Joseph Andrews'? Ans. & is perhaps a developmen o 'ieldings verbose writng syle ha he includes so many digressions in "oseph Andrews". !here are hree main inerpolaed ales in he novel. &n regards o hese inerpolaed ales, 'ielding employs a variey o actcs o ma$e he sories more believable. !hese insered sories also illusrae oher ensions relaed o writng a novel, such as conrol and inerrupton.
(i$) "e#ne the narrator? Ans. A narraor is he voice ha an auhor a$es on o ell a sory. !his voice can have a personaliy quie di:eren rom he auhors. 'or eurlesque is a lierary, dramatc or musical wor$ inended o cause laugher by caricauring he manner or spiri o serious wor$s, or by ludicrous reamen o he subjecs. onrastng eulers ")udibras". 4.8. ilbers "9ober he #evil" is an eildungsroman is a special $ind o novel ha ocuses on he psychological and moral growh o is main characer rom his or her youh o adulhood. "!om ones" by )enry 'ielding and "#avid opperfeld" by harles #ic$ens are eooby is perhaps pursuing him, bu chariably ascribes his o disracton over he deah o 8ir !homas. &n any case, he antcipaes his dismissal and advises Pamela o his reurn o he >ooby counry*sea.
Picaresque novel The picaresque novel (Spanish: picaresca, from pícaro, for "rogue" or "rascal") is a genre of prose fiction that depicts the adventures of a roguish hero/heroineof low social class who lives by his or her wits in a corrupt society. icares!ue novels typically adopt a realistic style, with elements of comedy and satire. This style of novel originated in #th$century Spain and flourished throughout %urope in the &th and 'th centuries. t continues to influence modern literature. ccording to the traditional view of Thrall and *ibbard (first published in +#), seven !ualities distinguish the picares!ue novel or narrative form, all or some of which an author may employ for effect:-
picares!ue narrative is usually written in first person as an autobiographical account. The main character is often of low character or social class. *e or she gets by with wit and rarely deigns to hold a ob. There is no plot. The story is told in a series of loosely connected adventures or episodes. There is little if any character development in the main character. 0nce a p1caro, always a p1caro. *is or her circumstances may change but they rarely result in a change of heart.
The p1caro2s story is told with a plainness of language or realism.
Satire is sometimes a prominent element.
The behavior of a picares!ue hero or heroine stops ust short of criminality. 3arefree or immoral rascality positions the picares!ue hero as a sympathetic outsider, untouched by the false rules of society.
The word pícaro first starts to appear in Spain with the current meaning in 454, though at the time it had no association with literature. -6 The word pícaro does not appear in Lazarillo de Tormes (445), the novella credited by modern scholars with founding the genre. The e7pression picaresque novel was coined in '8. --5 9hether it has any validity at all as a generic label in the Spanish si7teenth and seventeenth centuriesand 3ervantes certainly used "picares!ue" with a different meaning than it has todayhas been called into !uestion. There is an unending campaign within *ispanic studies about what the term means, or meant, and which wor;s were, or should be, so called. The only wor; clearly called "picares!ue" by its contemporaries was oo; of the 1caro).-4
History
Lazarillo de Tormes and its sources -edit 9hile elements of 3haucer and >occaccio have a picares!ue feel and may have contributed to the style,-# the modern picares!ue begins with Lazarillo de Tormes,-& which was published anonymously in 445 in >urgos,
The principal episodes of Lazarillo are based on rabic fol;tales that were well$;nown to the
"oseph Andre#s canFt be called a regular picares!ue novel for Cielding employs elements of this tradition in an e7position of his own theory of the Bidiculous. *e was writing a Gcomic epic$poem in poseH. *e adapts the picares!ue tradition to his own theory of the novel, which shows the influence of various other literary forms besides the picares!ue. *owever, the picares!ue motif helps Cielding to fulfill his aim of ridiculing the affectations of human beings. The different strata of society can be represented through the picares!ue mode. The travelers meet s!uires, inn;eepers, landladies, persons, philosophers, lawyers and surgeons, beggars, pedlars and robbers and rogues. articular social evils prevalent in the day, and follies and foibles of human nature in general are effectively e7posed. CieldingFs satire is pungent as he presents the worldly and crafty priests and the callous, vicious and inhuman country s!uires.
Cielding ac;nowledged his debt to 3ervantes, whose Jon Kui7ote is the best ;nown picares!ue novel in Spanish. @i;e the $on and Sancho %anza, arson dams and Loseph set out on a ourney which involves them in a series of adventures, some of them burles!ue, at several country inns or rural houses. @i;e the Jon, arson dams is a dreamy idealist. >ut there are differences, too, between Loseph ndrews and the picares!ue tradition, vital enough to consider CieldingFs novel as belonging to the genre of its own. The central ourney in Loseph ndrews is not mainly a !uest for adventure as it is in the picares!ue tradition. t is a sober return ourney homewards. Loseph and @ady >ooby are ta;en to @ondon and the reader is given a glimpse of societyFs ways in that great city. t is in 3hapter 8 of >oo; that the picares!ue element enters the novel, with Loseph setting out in a borrowed coat towards home. The picares!ue tradition is maintained uptil the end of >oo; . Loseph meets with the first misadventure when he is set upon by robbers, beaten, stripped and thrown unconscious into a ditch. passing stagecoach and its passengers very reluctantly convey Loseph to an inn. The incident gives ample scope to Cielding for satiriAing the pretenses and affectations of an essentially inhuman society. The Tow$wouse nn provides a grim picture of callous human beings I the vain and ignorant surgeon and the drin;ing parson. 0nce again ;indness and generosity come from an apparently immoral girl, >etty the chambermaid. 9ith the arrival of arson dams, the picares!ue ourney ta;es on a more humorous tone, with plenty of farce. The encounter with the GatriotH who would li;e to see all cowards banged but who turns tail at the first sight of danger, leads to the meeting with Canny. She is rescued by dams in proper picares!ue$romance style with hero. Several odd characters are met on the way I such as the hunting s!uire I the s!uire who ma;es generous but false promises. Then comes the abduction of Canny I and the reintroduction of something more serious. 9e also have the interpolated stories, which belong to the picares!ue tradition. n his use of this device, Cielding shows how far he has come from the picares!ue school. To conclude, Loseph ndrews has a rather rambling and discursive narrative, which ma;es us to believe that it is a picares!ue novel. >ut, on the whole, it is not a picares!ue novel rather the picares!ue mode has helped him in the development of his comic theory I that of ridiculing the affectations of human beings.
The Spanish words picaresque and picaroachieved currency in Spain shortly after 1600. Today they are terms in literary criticism, sometimes misused because of the vague meaning attached to them. The revival of the genre in the twentieth century was accompanied by an increased critical interest in this type of novel, with the result that some critics try to stretch the definition of the picaresque while others attempt to restrict it. Still, some features are generally accepted as distinct characteristics of the picaresque, including a loose, episodic structure; a roguehero !the picaro" who is on the move and goes through a series of encounters with representatives of a hostile and corrupt world; a firstperson narrative; and a satirical approach to the society in which the adventures occur. The typical social bac#ground of the picaresque involves a disordered, disintegrating world in which traditional values are brea#ing down. The instability of the social structure permits the emergence of the picaro, a resilient rogue but not a criminal, a person of low birth or uncertain
parentage, an outsider whose adventures ta#e him or her from innocence to e$perience. %n this sense, the picaresque novel has affinities with the bildungsroman, but unli#e the protagonist of the latter, the picaro is a fi$ed character. &hile he !traditionally a 'he(" learns survival techniques from his adventures, he does not change inwardly; he remains faithful to his healthy instincts without questioning the larger order of things. )ressured by circumstances to choose between integrity and survival, the picaro ma#es the pragmatic choice and learns to ad*ust to the corrupt values of his environment.
Si7teenth century Spain The picaresque genre emerged in si$teenth century Spain, an age of turmoil and upheaval when medieval homogeneity and social stability were giving way to +enaissance mobility and a greater emphasis on the importance of the individual. ll Spanish picaresque novels present a lowlife character passing from master to master in search of some financial stability, thus providing a splendid occasion for the author to give an overall picture of Spain in an age of disintegrating values. The differences between the two first e$amples of the genre, however, already indicate its protean nature. Lazarillo de Tores, published anonymously in 1-- !/nglish translation, 1-6", presents a picaro, a victim of tric#sters who by necessity becomes a tric#ster himself. The novels anonymous author was the first to employ a realistic firstperson narrator, creating a countergenre to the fastidious courtly literature of the period. Some critics suggest that both the anonymous author of Lazarillo de Tores and 2ateo lem3n, the writer of the second Spanish picaresque, were 4ews or converted 4ews, outsiders to the mainstream of Spanish society; in any case, the picaresque view of life is an outsiders point of view as far as protagonist and author are concerned. 5ear of starvation and anger are a7arillos true masters. The lesson he draws from his e$perience of privation and e$ploitation is n ot one of resistance or revolt; on the contrary
