790:, Pamela is concerned because one of her letters has been lost. Also, in an instance when Mr. B notices Pamela writing a letter, he asks to read it and, because he is her master, she allows him to do so. Of course, Mr. B does not find anything written in the letter that he does not like, but Mr. B's encroachment on Pamela's privacy mirrors his encroachment on the privacy of her body as he attempts to seduce her over and over again. Tillman argues that in early modern times, when letter-writing was an important and popular method of communication, "male letter readers could intercept and interpret those representations in a way that could void female agency" (125) and, because "letters... an extension of the self" (Tillman 126), Pamela's privacy is at risk in myriad ways. At the end of Tillman's article, she addresses the relationship between the experience of letter-writing and the experience of sharing the letters once written are bound up in the writers' identities and social expectations: "Just as women must dress according to their station, so letters should adopt a tone and style that fits their situation. Just as women must protect their bodies from seduction, so missives must carefully regulate what they say to a suitor" (127). The letter is performative in that it forms "a paper body that had to be carefully crafted and regulated since every part of it--from the handwriting, to the paper, to the content--could be subject examination and judgment" (Tillman 126). In this way, the letter works to enact and sustain writers' identities and the relationships cultivated between writers and readers of the letters.
786:
body of the scribe (or "paper body") which writers and readers of letters struggle to control. Tillman writes, "...in early
American novels, the letter served as a kind of paper body, a contested space where women writers and their readers vied for control over the female body, symbolizing the broader cultural struggle in which women were enmeshed during and shortly after the Revolution" (124), and in Tillman's article she posits that a relationship exists between "epistolarity and gender construction in early American novels: that women were expected to follow an epistolary code of ethics, which men could violate or manipulate as they saw fit: the control of a paper body was connected to the control of a physical one; and that women who failed (even despite trying to abide by the rules of epistolarity) risked ruin" (125). Within the first few chapters of
608:
42:
382:: The novel's fifteen-year-old pious protagonist, who narrates the novel. She is passed on by her deceased employer to her son, Mr. B, who puts her through numerous sexual advances and even assault before she eventually concedes and marries him. Pamela originally came to the estate as a young servant looking to make money to send to her parents back home. Pamela is also noted to value her virtue before anything else. Her virtue and her moral beliefs become her controlling purpose which creates tension between her and her employer who was making multiple advances towards her.
709:
distinction took exception to the ways in which their fictional counterparts were represented. Richardson responded to some of these criticisms by revising the novel for each new edition. He also created a "reading group" of such women to advise him. Some of the most significant changes he made were alterations to Pamela's vocabulary. In the first edition, her diction is that of a labouring-class woman, but in later editions, Richardson made her more linguistically middle-class by removing the working-class idioms from her speech. In that way, he made her
811:
325:, and gives money to her parents to persuade them to give consent. Pamela refuses the engagement and decides to leave the estate, but Mr. B intercepts her letters to her parents and tells them she is having an affair with a poor clergyman and that he will send her to a safe place to preserve her chastity. Pamela is forcibly taken to Mr. B's Lincolnshire Estate by Mr. B's servant Monsieur Colbrand, where she begins a journal with the intention of sending it to her parents.
757:, a 1693 Irish novel by an unknown author, as a possible influence. The two books have similar plots: "a beautiful and virtuous young woman of little or no social status falls in love with a prince or libertine who is equally besotted but whose wealth, rank and ambition make him desire only to seduce and debauch the chaste heroine, without having to marry her." Also, the title "virtue rewarded" is not found in any other work of the period.
504:
2541:
2527:
232:
2587:
2555:
624:, and used to read it aloud in the long summer evenings, seated on his anvil, and never failed to have a large and attentive audience.... At length, when the happy turn of fortune arrived, which brings the hero and heroine together, and sets them living long and happily... the congregation were so delighted as to raise a great shout, and procuring the church keys, actually set the parish bells ringing."
272:
341:
and beaten by robbers. Pamela attempts to flee home to her parents, but is terrified by two cows, which she mistakes for bulls. Mr. Williams accidentally reveals his correspondence with Pamela to Mrs. Jewkes and so Mr. B has him arrested and announces that he will marry Pamela to one of his servants. Desperate, Pamela attempts to escape by climbing a wall, and, injured, gives up.
471:, a sort of manual that codified social and domestic behavior of men, women, and servants, as well as a narrative to provide a more morally-concerned literature option for young audiences. Ironically, some readers focused more upon the bawdy details of Richardson's novel, resulting in some negative reactions and even a slew of literature satirizing
302:. After Lady B's death, her son, Mr. B, inherits the estate, and begins to pay Pamela romantic attention: first gifting her his mother's fine clothes, and then attempting to seduce her. Pamela rejects Mr. B's advances multiple times by fleeing and locking herself in her bedroom. In one instance, she faints, and finds the laces of her
362:
sister, Lady Davers, arrives at the estate and threatens Pamela and calls her marriage a sham. Pamela escapes by the window and is taken by
Colbrand to Mr. B. The following day, Lady Davers enters their bedroom without permission and reveals that Mr. B previously seduced a girl, Sally Godfrey, and had a child with her.
559:, novels written as series of letters, were popular in the eighteenth century but sustained popularity in the nineteenth and twentieth centuries as well. Fictional epistolary narratives originated in their early form in 16th-century England; however, they acquired wider renown with the publication of Richardson's
777:
consisted of the traditional lily-white heroine trope embellished with a sense of naivety (with Pamela being only fifteen years old). With respect to authorial intent, Pamela was driven only by her intense fear of having her virtue compromised, and her motivation to keep her virtue intact provided a
361:
Mr. Williams is released from prison, and the neighbouring gentry come to the estate and admire Pamela. Her father arrives at the estate and fears that she accepted Mr. B's proposal by force but is reassured when he sees her happy. Pamela and Mr. B wed. When Mr. B leaves to attend to a sick man, his
344:
Mr. B returns and offers Pamela a list of conditions that he would meet, should she accept his hand in marriage, but she refuses, citing her reluctance to think above her social station to become his mistress. In league with Mrs. Jewkes, Mr. B molests Pamela while she is in bed and is dressed as the
574:
is bound up in the back-and-forth between Pamela and Mr. B as the former eludes Mr. B's attempt and the latter, growing frustrated, continues in his attempts. According to
Barbara Belyea, Pamela's "duty to resist him without compromise has become a duty to obey him without question" (411). In other
357:
On leaving for home, Pamela is strangely sad and on her way home he sends her an apologetic letter that prompts her to realise that she is, in fact, in love. When she hears that he is ill, she returns to him. The two reunite and become engaged, and Pamela explains that she rejected Mr. B's advances
340:
for help. They pity Pamela, but they too are loyal to Mr. B, and are convinced a seduction would either not occur or be inconsequential because of Pamela's low social standing. Mr. Williams proposes marriage to her to help her escape the estate and Mr. B's advances but shortly afterward is attacked
785:
is written enables readers of the novel to see inside Pamela's mind, and, in doing so readers are able to better understand her identity and the ways her identity as a woman of lower socioeconomic status intersect and are bound up in that identity. Kacy
Tillman compares the written "letter" to the
671:
portrays the protagonist as an amoral social climber who attempts to seduce "Squire Booby" while feigning innocence to manipulate him into marrying her. In that version, the author works to invalidate Pamela by pointing out the incongruities between characters and the overall plot of the story and
584:
sustains the formative action of the plot through the letters she writes to her parents detailing her ordeal: "Within the fictional situation, the parents' attitude to their child's letters is the closest to that of
Richardson's reader. The parents' sympathy for the heroine and anxiety for a happy
149:
tells the story of a fifteen-year-old maidservant named Pamela
Andrews, whose employer, Mr. B, a wealthy landowner, makes unwanted and inappropriate advances towards her after the death of his mother. Pamela strives to reconcile her strong religious training with her desire for the approval of her
772:
has been described as being a feminist piece of literature because it rejects traditional views of women and supports the new and changing role of women in society. One of the ways in which feminism is shown in the text is through allowing readers to see the depths of women (i.e. their emotions,
462:
after he was approached by two book-sellers, who requested that he make them a book of letter templates. Richardson accepted the request, but only if the letters had a moral purpose. As
Richardson was writing, the series of letters turned into a story. Writing in a new form, the novel, Richardson
348:
Pamela has hidden a parcel of letters to her parents in the garden, but they are seized by Mrs. Jewkes, who gives them to Mr. B. He sympathises with Pamela on reading her account of their relationship, and once again proposes. Pamela, still doubtful of his intentions, begs him to let her return.
796:
is strewn with contemporary themes that handle gender roles, male aggression, false imprisonment, classism, and the hierarchy of power evident through her forced stay at Mr. B's estate and seen through her kidnapping. Pamela had little-to-no choice in the arrangement and was a victim of Mr. B's
708:
The popularity of
Richardson's novel led to much public debate over its message and style. Richardson was of the artisanal class, and among England's middle and upper classes, where the novel was popular, there was some displeasure over its at times plebeian style. Apparently, certain ladies of
619:
was a best-seller of its time. It was read by countless buyers of the novel and was also read in groups. An anecdote, which has been repeated in varying forms since 1777, described the novel's reception in an
English village: "The blacksmith of the village had got hold of Richardson's novel of
566:
In the novel, Pamela writes two kinds of letters. At the beginning, while she decides how long to stay on at Mr. B's after his mother's death, she tells her parents about her various moral dilemmas and asks for their advice. After Mr. B. abducts her and imprisons her in his country house, she
313:
of the estate, Mrs. Jervis. Later, Mr. B hides in Pamela's closet and tries to kiss her when she undresses for bed, which causes Pamela to consider leaving her position and returning to her parents to preserve her innocence. She is insistent on remaining at the estate to finish embroidering a
173:
despite the controversies, shed light on social issues that transcended the novel for the time such as gender roles, early false-imprisonment, and class barriers present in the eighteenth century. The action of the novel is told through letters and journal entries from Pamela to her parents.
699:
At least one modern critic has stated that the rash of satires can be viewed as a conservative reaction to a novel that called class, social and gender roles into question by asserting that domestic order can be determined by not only socio-economic status but also moral qualities of mind.
1161:, Gabaldon's fifth novel in the series, wherein Roger Wakefield is perusing the Fraser library and comes across the "monstrous" "gigantic" novel with several bookmarks delineating where various readers gave up on the novel, either temporarily or permanently. This is likely a confusion of
365:
Pamela reconciles the furious siblings, who return to
Bedfordshire. Pamela rewards her friends and servants with money and forgives her father for attempting to end her engagement. They visit a farmhouse where they meet Mr. B's daughter and learn that her mother now lives married in
773:
feelings, thoughts) rather than seeing women at surface level. However, the poor treatment of Pamela herself and her intense consideration to her virtue, a societal construct founded in moral religion, might also suggest the opposite. Richardson himself was not a feminist, and
567:
continues to write to her parents, but since she does not know if they will ever receive her letters, the writings are also considered a diary. Eventually, Mr. B finds out about Pamela's letters to her parents and encroaches upon her privacy by refusing to let her send them.
2590:
589:
invokes an audience within an audience and "areful attention to comments and letters by other characters enables the reader to perceive that Pamela's passionate defence of her chastity is considered initially as exaggerated, fantastic--in a word, romantic" (412).
747:
was the marriage of a coachman's daughter, Hannah Sturges, to the baronet, Sir Arthur Hesilrige, in 1725. Samuel Richardson claimed that the story was based on a true incident related to him by a friend about 25 years before, but did not identify the principals.
177:
Richardson highlights a theme of naivety, illustrated through the eyes of Pamela. Richardson paints Pamela herself as innocent and meek and further contributes to the theme of her being short-sighted to emphasize the ideas of childhood innocence and naivety.
585:
end anticipate the reader's attitude to the narrative" (413). Pamela's parents are the audience for her letters and their responses (as recipients of the letters) mimic what Belyea argues are readers' responses to Richardson's novel. Arguably, Richardson's
345:
housemaid Nan. Pamela is sent into hysteria and seems likely to die. Mr. B repents and is kinder in his seductions, but Pamela implores him to stop altogether. Mr. B implies that he loves Pamela but will not marry her because of her social status.
837:, whilst the one for Box 16 shows Pamela fleeing to Mr B.'s coach after revealing her marriage to Lady Davers and Mr B.'s servant Colbrand forcibly defending her from two of Lady Davers' servants. The latter was bought from the Gardens in 1841 by
394:
A young clergyman who attempts to help Pamela escape Mr. B's estate, and delivers letters to her family. He offers to marry Pamela to secure her from Mr. B's unwanted advances, but she denies him. Mr. B has Williams taken away to debtors'
328:
The Lincolnshire housekeeper, Mrs. Jewkes, is "odious" and "unwomanly", devoted to Mr. B, and keeps Pamela as her bedfellow. Mr. B promises that he will not approach Pamela without her leave and stays away from the estate for some time.
150:
employer in a series of letters and, later in the novel, journal entries all addressed to her impoverished parents. After various unsuccessful attempts at seduction, a series of sexual assaults and an extended period of kidnapping, the
419:
The elderly housekeeper of Mr. B's Bedfordshire estate. She becomes one of Pamela's best friends, as stated in a letter to her parents. Despite her good intentions, she is nearly ineffectual in preventing Mr. B's unwanted advances on
1126:
as it shares many key elements with the novel, such as a young, beautiful woman being taken by an arrogant man. However, Amis claimed afterwards that he had little interest in classic fiction, which makes this proposition less
674:
1209:
have been read by Elizabeth Bennet and she passes the books to one of the maids. The maid contemplates the behavior of the characters and wonders what her own conduct would be if put in the same position.
579:
experience the trajectory of the plot, and the romance between the hero and heroine, as a back-and-forth, pendulum-like swing. Belyea claims this oscillation persists through readers' interpretations as
332:
As Pamela is mistreated by Mrs. Jewkes, she begins communicating with Mr. Williams by letters, which they leave for one another in the gardens. After Mrs. Jewkes beats Pamela after she calls her a "
716:
The greatest change was to have her his equal too in birth by revising the story to reveal her parents as reduced gentlefolks. In the end, Richardson revised and released fourteen editions of
154:
Mr. B eventually reforms and makes Pamela a sincere proposal of marriage. In the novel's second part, Pamela marries Mr. B and tries to acclimatise to her new position in upper-class society.
426:
The housekeeper of Mr. B's Lincolnshire estate. She holds Pamela at the estate according to Mr. B's wishes and is completely dutiful to him. She warms to Pamela once she marries Mr. B.
1543:
1876:
Dillard, Leigh G. (12 January 2015). "Drawing Outside the Book: Parallel Illustration and the Creation of a Visual Culture". In Ionescu, Christina; Schellenberg, Renata (eds.).
2461:
Townsend, Alex, Autonomous Voices: An Exploration of Polyphony in the Novels of Samuel Richardson, 2003, Oxford, Bern, Berlin, Bruxelles, Frankfurt/M., New York, Wien, 2003,
1153:, the third novel in the Outlander series: In the chapter "The Torremolinos Gambit", the characters Jamie Fraser and Lord John Grey discuss Samuel Richardson's immense novel
490:
in 1755. Many novels, from the mid-18th century and well into the 19th, followed Richardson's lead and claimed legitimacy through the ability to teach as well as amuse.
2654:
2126:
169:
was an early commentary on domestic violence and brought into question the dynamic line between male aggression and a contemporary view of love. Moreover,
1726:
860:
as the basis for a set of engravings. They are a free adaptation of the novel and focus mainly on the first book. They are now equally divided between
728:
many times, the justification of male aggression in a "loving" domestic relationship, as evidenced between Pamela and Mr. B, remains controversial.
388:
Pamela's father and mother to whom Pamela's letters are addressed. Pamela hears only from her father, who alone of her parents appears in the novel.
1326:
1262:
1330:
659:
317:
Angry at Pamela for telling Mrs. Jervis of his attempted seductions, Mr. B informs Pamela that he intends to marry her off to Mr. Williams, his
1345:
2559:
1096:
as inspiration to invent a story that she was fired from her previous position because her employer had made improper advances towards her.
521:
2161:. Edited by Margaret Ann Doody and Peter Sabor. This edition takes as its copy-text the revised, posthumously published edition of 1801.
1011:
evokes Richardson's title and also borrows from Richardson the conceit of single-letter names to create a very different type of "quasi-
653:
Given the lax copyright laws at the time, many unofficial sequels were written and published without Richardson's consent, for example,
2624:
2619:
901:
724:
was a latent fetishization of Richardson's own fantasies and beliefs regarding women in society. Even though Richardson openly revised
594:
demonstrates morality and realism as bound up in individuals’ identities and social class because of its form as an epistolary novel.
413:
Mr. B's sister. She initially disapproves of Pamela's union with Mr. B for her lower class but eventually warms to the modest girl.
2172:. Edited by Thomas Keymer and Alice Wakely. This edition takes as its copy-text the first edition of November 1740 (dated 1741).
2493:
2470:
2466:
2415:
2352:
2300:
1997:
1885:
1661:
1626:
1596:
1521:
1430:
1387:
1238:
838:
657:, published 1741 and sometimes attributed to John Kelly (1680?–1751). There were also several satires, the most famous being
2629:
2614:
487:
198:
2649:
2013:
438:
Helps in keeping Pamela at the Lincolnshire estate but proves to be protecting her and helps her escape from Lady Davers.
370:. Pamela proposes taking the girl home with them. The neighbourhood gentry, which once despised Pamela, now praise her.
165:
was widely read but was also criticised for its perceived licentiousness and disregard for class barriers. Furthermore,
2169:
2158:
1517:
1302:
543:
477:
A Collection of the Moral and Instructive Sentiments, Maxims, Cautions, and Reflexions, Contained in the Histories of
921:
26:
2184:
1925:
187:
116:
768:
Some believe that Richardson was one of the first male writers to take a feminist view while he wrote a novel.
2433:
Rogers, Katharine M. (1976). "Sensitive Feminism vs. Conventional Sympathy: Richardson and Fielding on Women".
525:
432:
Mr. B's mistress from his college days. She has a daughter by Mr. B but removed to Jamaica and married another.
1448:
Three Italian Epistolary Novels: Foscolo, De Meis, Piovene : Translations, Introductions, and Backgrounds
778:
very narrow scope of womanhood and the sex as a whole. The controversy over the novel is present and ongoing.
627:
The novel was also integrated into sermons as an exemplar. It was even an early "multimedia" event, producing
2345:'Pamela' in the Marketplace: Literary Controversy and Print Culture in Eighteenth-Century Britain and Ireland
1653:'Pamela' in the Marketplace: Literary Controversy and Print Culture in Eighteenth-Century Britain and Ireland
996:
310:
2577:
1771:
Rogers, Katharine (1976). "Sensitive Feminism vs. Conventional Sympathy: Richardson and Fielding on Women".
1712:
Pamela in the Marketplace: Literary Controversy and Print Culture in Eighteenth-Century Britain and Ireland
865:
87:
2659:
2639:
672:
suggests that she was not really as virtuous as she may have seemed to be. Another important satire was
2398:
Rivero, Albert J. (2001). "The Place of Sally Godfrey in Richardson's Pamela". In Blewett, David (ed.).
309:
When Mr. B attempts to pay her to keep his failed seduction secret, she confides in her best friend and
2634:
1101:
1005:
la Paméla française, ou Lettres d’une jeune paysanne et d’un jeune ci-devant, contenant leurs aventures
917:
834:
829:
also produced two paintings drawing on scenes and themes from the novel for supper boxes 12 and 16 at
846:
246:
2262:
Dussinger, John A. (1999). "'Ciceronian Eloquence': The Politics of Virtue in Richardson's Pamela".
880:
Its success also led to several stage adaptations in France and Italy. In Italy, it was adapted by
2035:
1989:
English Women's Clothing in the Nineteenth Century: A Comprehensive Guide with 1,117 Illustrations
933:
2644:
514:
1960:
1878:
Book Illustration in the Long Eighteenth Century: Reconfiguring the Visual Periphery of the Text
1173:
968:
909:
151:
1987:
1938:
1833:
Tillman, Kacy (2016). "Paper Bodies: Letters and Letter Writing in the Early American Novel".
1710:
1692:
1446:
1000:
929:
299:
77:
1651:
607:
401:
Pamela's lascivious and abusive employer, who falls in love with and eventually marries her.
2609:
1901:
1116:
965:
When We Have Sufficiently Tortured Each Other: 12 Variations on Samuel Richardson's Pamela
897:
841:, whose heirs sold it in 1947 to Henry Hornyold-Strickland, who in turn donated it to the
8:
1678:
1636:
1056:
1039:
41:
947:
358:
because she feared that he would attempt to take advantage of her without marrying her.
139:. Considered one of the first true English novels, it serves as Richardson's version of
2499:
2450:
2425:
2421:
2371:
2331:
2306:
2279:
2243:
2214:
1850:
1788:
1753:
1602:
1483:
1393:
1320:
1291:
1256:
1132:
952:
869:
857:
2291:
Flynn, Carol Houlihan (1982). "Horrid Romancing: Richardson's Use of the Fairy Tale".
1034:
with Ann Michelle as Pamela Andrews and Julian Barnes as Lord Robert Devenish (Mr. B).
2572:
2489:
2462:
2411:
2379:
2348:
2296:
2283:
2180:
2165:
2154:
2114:
2098:
2083:
2068:
1993:
1881:
1854:
1684:
1657:
1632:
1622:
1592:
1513:
1487:
1426:
1383:
1308:
1298:
1244:
1234:
913:
797:
sexual advances. Mr. B saw Pamela as an object of affection, and a pawn to his game.
647:
136:
55:
1412:
2481:
2442:
2403:
2323:
2271:
2235:
1842:
1819:
1815:
1780:
1475:
1418:
1375:
1052:
995:
soon led to its translation into other languages, most notably into French by Abbé
830:
556:
132:
73:
2568:
1194:
s effect on 18th-century society with that of video games on 20th-century society.
314:
waistcoat for Mr. B, hoping that by doing so he will let her leave on good terms.
1147:
1030:
976:
940:
and bonnets which were worn well into the second half of the nineteenth century.
889:
853:
818:
753:
683:
636:
20:
2478:
Disciplines of Virtue: Girls' Culture in the Eighteenth and Nineteenth Centuries
2476:
Vallone, Lynne (1995). "'The Matter of Letters': Conduct, Anatomy, and Pamela".
1696:
1372:
Disciplines of Virtue: Girls' Culture in the Eighteenth and Nineteenth Centuries
1055:) in the series. The role of Mr. B is that of Count Fabrizio Ristori (played by
916:, Neufchâteau's adaptation was felt to be too royalist in its sympathies by the
2532:
1905:
980:
972:
842:
826:
688:
664:
292:
2503:
720:, the last of which was published in 1801 after his death. Some believe that
2603:
2546:
2310:
1727:"Novel departure – Vertue Rewarded, the first Irish novel written in English"
1606:
1248:
1107:: The character of Doctor Montague mentions several times that he is reading
1012:
885:
881:
710:
679:
640:
1688:
1397:
1312:
713:
to Mr. B less scandalous as she appeared to be more his equal in education.
2485:
2226:
Conboy, Sheila C. (1987). "Fabric and Fabrication in Richardson's Pamela".
1858:
1491:
1379:
1086:
960:
936:
prisons. Mademoiselle Lange's straw hat from the play launched a trend for
861:
468:
322:
296:
140:
2407:
2383:
2318:
Gwilliam, Tassie (1991). "Pamela and the Duplicitous Body of Femininity".
2275:
1846:
1806:
Gwilliam, Tassie (1991). "Pamela and the Duplicitous Body of Femininity".
1744:
McDermott, Hubert (1986). "Vertue Rewarded: The First Anglo-Irish Novel".
1479:
1422:
833:. The painting for Box 12 is now lost but showed the departure scene from
810:
650:
published it in Philadelphia. However, the novel did not sell well there.
1297:. Keymer, Thomas, 1962-, Wakely, Alice. Oxford: Oxford University Press.
2375:
2218:
2062:
2049:
1757:
1077:: Jane mentions Bessie's nursery stories and how some of them came from
2454:
2335:
2247:
2094:
2079:
1792:
937:
925:
646:
In 1742, "Pamela" became the first novel to be printed in America when
632:
528: in this section. Unsourced material may be challenged and removed.
2205:
Blanchard, Jane (2011). "Composing Purpose in Richardson's "Pamela"".
1862:
1495:
2362:
Levin, Gerald (1971). "Richardson's 'Pamela': 'Conflicting Trends'".
1199:
1071:
161:, makes plain Richardson's moral purpose. A best-seller of its time,
2446:
2327:
2239:
1937:
Muret, Théodor (September 1865). Ainsworth, William Harrison (ed.).
1784:
503:
214:
in 1957, literary critics and historians have generally agreed that
2594:
480:
318:
279:
showing Mr. B intercepting Pamela's first letter home to her mother
218:
played a critical role in the development of the novel in English.
207:
193:
2540:
1715:, pp. 100–02. Cambridge University Press. Retrieved 30 April 2014.
1047:. The story takes place in the second half of the 18th century in
407:
Deceased; Mr. B's and Lady Daver's mother, Pamela's late employer.
367:
333:
288:
2512:
The Rise of the Novel: Studies in Defoe, Richardson and Fielding
1277:
The Rise of the Novel: Studies in Defoe, Richardson and Fielding
1092:: Amanda, attempting to pass herself off as a lady's maid, uses
615:
Considered by many literary experts as the first English novel,
212:
The Rise of the Novel: Studies in Defoe, Richardson and Fielding
2554:
1051:(Italy). The role of Pamela is that of Elisa Scalzi (played by
337:
303:
1451:, p. xii. Peter Lang Publishing, Inc. Retrieved 30 April 2014.
1288:
463:
attempted both to instruct and to entertain. Richardson wrote
271:
2400:
Passion and Virtue: Essays on the Novels of Samuel Richardson
2256:
A Natural Passion: A Study of the Novels of Samuel Richardson
2199:
Desire and Domestic Fiction: A Political History of the Novel
1048:
284:
1063:
696:, due in part to its subtitle, "The Misfortunes of Virtue".
1466:
Belyea, Barbara (1984). "Romance and Richardson's Pamela".
1122:: Some have viewed this novel to be a modern retelling of
19:"Virtue Rewarded" redirects here. For the 1693 novel, see
1007:. More recently, Bay Area author Pamela Lu's first book
1544:"Annotation to image of title page of 1742 US printing"
1445:
Traversa, Vincenzo (2005), transl. Traversa, Vincenzo.
2121:(1st ed.). London: Messrs Rivington & Osborn.
1414:
The Epistolary Novel: Representations of Consciousness
631:-themed cultural artefacts such as prints, paintings,
597:
275:
A plate from the 1742 deluxe edition of Richardson's
2522:
1680:
Samuel Richardson's Revisions to Pamela (1740, 1801)
1591:. University of Pennsylvania Press. pp. 19–46.
963:
uses the text as a "provocation" for his stage play
667:, published under the pseudonym "Mr. Conny Keyber".
135:
novel first published in 1740 by the English writer
1880:. Cambridge Scholars Publishing. pp. 195–242.
475:and so he published a clarification in the form of
2394:. Baltimore: Johns Hopkins University Press, 2002.
1290:
1138:: The character Captain York recommends the novel
920:, which imprisoned its author and cast (including
191:(1742). He revisited the theme of the rake in his
2514:. Berkeley: University of California Press, 1957.
845:as part of the house, collections and gardens of
692:is generally perceived as a critical response to
2601:
2295:. Princeton University Press. pp. 145–195.
197:(1748), and sought to create a "male Pamela" in
2402:. University of Toronto Press. pp. 52–72.
2014:"When We Have Sufficiently Tortured Each Other"
1346:"An introduction to Pamela, or Virtue Rewarded"
1037:2003 – Italian TV series by Cinzia TH Torrini:
743:, claims that the inspiration for Richardson's
660:An Apology for the Life of Mrs. Shamela Andrews
675:The Anti-Pamela; or Feign'd Innocence Detected
643:decorated with lines from Richardson's works.
453:
1613:Johnson, Maurice (2003). "The Art of Parody:
1568:Johnson, Maurice (1961). "The Art of Parody:
287:, virtuous fifteen-year-old, the daughter of
2655:British novels adapted into television shows
2578:Illustration History of Samuel Richardson's
1574:Fielding's Art of Fiction: Eleven Essays on
1325:: CS1 maint: multiple names: authors list (
1261:: CS1 maint: multiple names: authors list (
2392:The Origins of the English Novel: 1600–1740
2342:
1649:
1279:. Berkeley: University of California Press.
1229:Doody, Margaret Anne, Sabor, Peter (2010).
1183:. On 9 January 2007, BBC Radio 4 broadcast
1130:
2201:. New York: Oxford University Press, 1987.
2164:— (Oxford: Oxford University Press, 2008)
2131:Introduction to Samuel Richardson's Pamela
2113:
1985:
1329:) CS1 maint: numeric names: authors list (
349:Though vexed, he does so to her surprise.
40:
2480:. Yale University Press. pp. 26–44.
2261:
2204:
1743:
1709:Keymer, Thomas, and Sabor, Peter (2005).
1656:. Cambridge University Press. p. 5.
1461:
1459:
1457:
1171:
1064:Allusions and references from other works
703:
682:. Although not technically a satire, the
544:Learn how and when to remove this message
2317:
1805:
1145:
872:, each of which has four of the series.
809:
611:Illustration from a 1741 pirated edition
606:
444:The daughter of Mr. B and Sally Godfrey.
270:
2475:
2006:
1875:
1832:
1677:Bender, Ashley Brookner (August 2004).
1612:
1567:
1512:, p. 60. University of Delaware Press.
1369:
1289:Richardson, Samuel, 1689-1761. (2001).
1099:
946:was also the basis for the libretto of
912:, 1 August 1793). Appearing during the
2602:
2432:
2397:
2225:
1770:
1676:
1621:. Vol. 85. Gale. pp. 19–45.
1619:Literature Criticism from 1400 to 1800
1465:
1454:
1231:Samuel Richardson: tercentenary essays
1172:Freedland, Jonathan (9 January 2007),
1069:
1022:
2361:
2343:Keymer, Thomas; Sabor, Peter (2005).
2290:
2125:
2016:. National Theatre. 27 September 2018
1936:
1650:Keymer, Thomas; Sabor, Peter (2005).
1343:
1228:
1197:
1084:
839:William Lowther, 1st Earl of Lonsdale
760:
336:", Mr. Williams entreats the village
291:labourers, who works for Lady B as a
1992:. Courier Corporation. p. 302.
1410:
1114:
898:Comédiens italiens ordinaires du Roi
526:adding citations to reliable sources
497:
225:
2293:Samuel Richardson: A Man of Letters
1926:See the 12 pictures on Utpictura18.
1835:Tulsa Studies in Women's Literature
731:
598:Literary significance and criticism
181:Two years after the publication of
13:
2052:. 1 January 1974 – via IMDb.
1764:
1746:Studies: An Irish Quarterly Review
1028:1974 – UK film by Jim O'Connolly:
751:Prof Hubert McDermott has posited
14:
2671:
2625:British novels adapted into plays
2620:British novels adapted into films
2518:
1724:
894:Paméla ou la Vertu mieux éprouvée
185:, Richardson published a sequel,
2585:
2553:
2539:
2525:
2258:. Oxford: Clarendon Press, 1974.
1510:The Work(s) of Samuel Richardson
1370:Vallone, Lynne (26 April 1995).
1344:Doody, Margaret (21 June 2018).
896:, a verse comedy in three acts (
502:
230:
27:Virtue Rewarded (disambiguation)
2153:(Harmondsworth: Penguin, 2003)
2138:
2088:
2073:
2056:
2042:
2028:
1986:Cunnington, C. Willett (2013).
1979:
1953:
1930:
1919:
1894:
1869:
1826:
1799:
1737:
1718:
1703:
1670:
1643:
1561:
1536:
1527:
513:needs additional citations for
221:
188:Pamela in her Exalted Condition
117:Pamela in her Exalted Condition
16:1740 novel by Samuel Richardson
2347:. Cambridge University Press.
1820:10.1525/rep.1991.34.1.99p00502
1502:
1468:ESC: English Studies in Canada
1439:
1404:
1363:
1337:
1282:
1269:
1233:. Cambridge University Press.
1222:
1165:with Richardson's later novel
922:Anne Françoise Elisabeth Lange
906:Paméla ou la Vertu récompensée
800:
1:
2107:
1157:. Another mention is made in
781:The epistolary form in which
655:Pamela's conduct in high life
493:
373:
88:Messrs Rivington & Osborn
2191:
1411:Bray, Joe (29 August 2003).
1215:
866:National Gallery of Victoria
858:a series of twelve paintings
805:
602:
35:Pamela; or, Virtue Rewarded
7:
2630:Novels by Samuel Richardson
2615:18th-century British novels
2593:public domain audiobook at
2561:Pamela; or, Virtue Rewarded
2119:Pamela; or, Virtue Rewarded
1293:Pamela, or, Virtue rewarded
1124:Pamela; or, Virtue Rewarded
592:Pamela; or, Virtue Rewarded
572:Pamela; or, Virtue Rewarded
454:Conduct books and the novel
386:John and Elizabeth Andrews:
352:
277:Pamela; or, Virtue Rewarded
266:
241:may have misleading content
183:Pamela; or, Virtue Rewarded
159:Pamela; or, Virtue Rewarded
128:Pamela; or, Virtue Rewarded
10:
2676:
2650:Novels set in Lincolnshire
2591:Pamela, or Virtue Rewarded
2264:Eighteenth-Century Fiction
1103:The Haunting of Hill House
1070:Brontë, Charlotte (1847),
999:. It was also imitated by
918:Committee of Public Safety
900:, 4 March 1743), followed
852:Soon afterwards, in 1743,
622:Pamela, or Virtue Rewarded
18:
2435:Novel: A Forum on Fiction
2177:Pamela Or Virtue Rewarded
1417:(1 ed.). Routledge.
1374:. Yale University Press.
1131:O'Brian, Patrick (1979),
1100:Jackson, Shirley (1959),
1085:Heyer, Georgette (1956),
986:
904:'s five-act verse comedy
458:Richardson began writing
111:
103:
93:
83:
69:
61:
51:
39:
1943:The New Monthly Magazine
1508:Fysh, Stephanie (1997).
1146:Gabaldon, Diana (1993),
875:
741:Celebrated Pamela (1741)
448:
46:First edition title page
2426:10.3138/9781442678293.9
1939:"Politics on the Stage"
1115:Amis, Kingsley (1960),
788:Pamela, Virtue Rewarded
2486:10.2307/j.ctt211qw91.6
2254:Doody, Margaret Anne.
1380:10.2307/j.ctt211qw91.6
969:Royal National Theatre
822:
738:Memoirs of Lady H, the
704:Richardson's revisions
612:
280:
25:. For other uses, see
2564:at Wikimedia Commons
2408:10.3138/9781442678293
2276:10.1353/ecf.1999.0019
2207:South Atlantic Review
2179:(Lector House, 2019)
1847:10.1353/tsw.2016.0010
1480:10.1353/esc.1984.0044
1423:10.4324/9780203130575
1142:to his dinner guests.
1001:Robert-Martin Lesuire
813:
610:
488:Sir Charles Grandison
274:
200:Sir Charles Grandison
1965:Berg Fashion Library
1548:ExplorePAHistory.com
1118:Take a Girl Like You
1043:is loosely based on
522:improve this article
283:Pamela Andrews is a
2175:Richardson, Samuel
2149:Richardson, Samuel
2127:Doody, Margaret Ann
2095:Alessandro Preziosi
2064:Elisa di Rivombrosa
1533:Fysh (1997), p. 58.
1350:The British Library
1057:Alessandro Preziosi
1040:Elisa di Rivombrosa
1023:Film and television
247:clarify the content
36:
2660:Conduct literature
2640:Sentimental novels
2197:Armstrong, Nancy.
2115:Richardson, Samuel
1275:Watt, Ian (1957).
1205:: Both volumes of
1198:Baker, Jo (2013),
1134:The Fortune of War
953:La buona figliuola
910:Comédiens Français
870:Fitzwilliam Museum
823:
613:
575:words, readers of
436:Monsieur Colbrand:
281:
141:conduct literature
34:
2635:Epistolary novels
2573:Project Gutenberg
2558:Media related to
2495:978-0-300-06172-7
2471:978-0-8204-5917-2
2467:978-3-906769-80-6
2417:978-0-8020-3503-5
2390:McKeon, Michael.
2354:978-0-521-81337-2
2302:978-1-4008-5404-2
2050:"Mistress Pamela"
1999:978-0-486-31963-6
1887:978-1-4438-7309-3
1859:Project MUSE
1663:978-0-521-81337-2
1628:978-1-4144-2478-1
1598:978-1-5128-1251-0
1522:978-0-87413-626-5
1492:Project MUSE
1432:978-0-203-13057-5
1389:978-0-300-23927-0
1240:978-0-521-16919-6
1187:which contrasted
1181:, UK: BBC Radio 4
1017:Publishers Weekly
1003:in his own novel
971:in 2019 starring
967:, opening at the
914:French Revolution
648:Benjamin Franklin
557:Epistolary novels
554:
553:
546:
264:
263:
137:Samuel Richardson
124:
123:
104:Publication place
56:Samuel Richardson
2667:
2589:
2588:
2557:
2549:
2544:
2543:
2535:
2530:
2529:
2528:
2507:
2458:
2429:
2387:
2358:
2339:
2314:
2287:
2251:
2222:
2134:
2122:
2101:
2092:
2086:
2080:Vittoria Puccini
2077:
2071:
2060:
2054:
2053:
2046:
2040:
2039:
2036:"Pamela A Novel"
2032:
2026:
2025:
2023:
2021:
2010:
2004:
2003:
1983:
1977:
1976:
1974:
1972:
1957:
1951:
1950:
1934:
1928:
1923:
1917:
1916:
1914:
1912:
1898:
1892:
1891:
1873:
1867:
1866:
1830:
1824:
1823:
1803:
1797:
1796:
1768:
1762:
1761:
1752:(298): 177–185.
1741:
1735:
1734:
1722:
1716:
1707:
1701:
1700:
1674:
1668:
1667:
1647:
1641:
1640:
1611:Republished as:
1610:
1565:
1559:
1558:
1556:
1554:
1540:
1534:
1531:
1525:
1506:
1500:
1499:
1463:
1452:
1443:
1437:
1436:
1408:
1402:
1401:
1367:
1361:
1360:
1358:
1356:
1341:
1335:
1334:
1324:
1316:
1296:
1286:
1280:
1273:
1267:
1266:
1260:
1252:
1226:
1204:
1193:
1182:
1180:
1152:
1137:
1121:
1106:
1091:
1076:
1053:Vittoria Puccini
1015:," according to
948:Niccolò Piccinni
831:Vauxhall Gardens
732:Original sources
549:
542:
538:
535:
529:
506:
498:
259:
256:
250:
234:
233:
226:
210:discussed it in
157:The full title,
143:about marriage.
112:Followed by
95:Publication date
74:Epistolary novel
44:
37:
33:
2675:
2674:
2670:
2669:
2668:
2666:
2665:
2664:
2600:
2599:
2586:
2545:
2538:
2531:
2526:
2524:
2521:
2496:
2447:10.2307/1345466
2418:
2355:
2328:10.2307/2928772
2322:(34): 104–133.
2320:Representations
2303:
2240:10.2307/2873051
2194:
2141:
2133:. Viking Press.
2110:
2105:
2104:
2093:
2089:
2078:
2074:
2061:
2057:
2048:
2047:
2043:
2034:
2033:
2029:
2019:
2017:
2012:
2011:
2007:
2000:
1984:
1980:
1970:
1968:
1961:"Pamela bonnet"
1959:
1958:
1954:
1935:
1931:
1924:
1920:
1910:
1908:
1902:"The Elopement"
1900:
1899:
1895:
1888:
1874:
1870:
1831:
1827:
1808:Representations
1804:
1800:
1785:10.2307/1345466
1769:
1765:
1742:
1738:
1731:The Irish Times
1723:
1719:
1708:
1704:
1675:
1671:
1664:
1648:
1644:
1629:
1599:
1566:
1562:
1552:
1550:
1542:
1541:
1537:
1532:
1528:
1507:
1503:
1464:
1455:
1444:
1440:
1433:
1409:
1405:
1390:
1368:
1364:
1354:
1352:
1342:
1338:
1318:
1317:
1305:
1287:
1283:
1274:
1270:
1254:
1253:
1241:
1227:
1223:
1218:
1191:
1178:
1159:The Fiery Cross
1066:
1031:Mistress Pamela
1025:
1009:Pamela: A Novel
991:The success of
989:
977:Stephen Dillane
959:The playwright
950:'s comic opera
878:
854:Joseph Highmore
819:Joseph Highmore
815:Pamela Fainting
808:
803:
766:
754:Vertue Rewarded
736:A publication,
734:
706:
684:Marquis de Sade
639:, and a set of
605:
600:
550:
539:
533:
530:
519:
507:
496:
456:
451:
376:
355:
306:have been cut.
269:
260:
254:
251:
244:
235:
231:
224:
96:
76:
47:
30:
22:Vertue Rewarded
17:
12:
11:
5:
2673:
2663:
2662:
2657:
2652:
2647:
2645:English novels
2642:
2637:
2632:
2627:
2622:
2617:
2612:
2598:
2597:
2583:
2575:
2551:
2550:
2536:
2533:England portal
2520:
2519:External links
2517:
2516:
2515:
2508:
2504:j.ctt211qw91.6
2494:
2473:
2459:
2441:(3): 256–270.
2430:
2416:
2395:
2388:
2370:(4): 319–329.
2364:American Imago
2359:
2353:
2340:
2315:
2301:
2288:
2259:
2252:
2223:
2202:
2193:
2190:
2189:
2188:
2173:
2170:978-0199536498
2162:
2159:978-0140431407
2146:
2145:
2140:
2137:
2136:
2135:
2123:
2109:
2106:
2103:
2102:
2087:
2072:
2055:
2041:
2027:
2005:
1998:
1978:
1952:
1929:
1918:
1906:National Trust
1893:
1886:
1868:
1841:(1): 123–144.
1825:
1798:
1763:
1736:
1717:
1702:
1669:
1662:
1642:
1627:
1597:
1580:Joseph Andrews
1560:
1535:
1526:
1501:
1474:(4): 407–415.
1453:
1438:
1431:
1403:
1388:
1362:
1336:
1303:
1281:
1268:
1239:
1220:
1219:
1217:
1214:
1213:
1212:
1210:
1195:
1169:
1143:
1128:
1112:
1097:
1082:
1065:
1062:
1061:
1060:
1035:
1024:
1021:
988:
985:
981:Katie Mitchell
973:Cate Blanchett
934:Sainte-PĂ©lagie
877:
874:
847:Sizergh Castle
843:National Trust
827:Francis Hayman
807:
804:
802:
799:
765:
759:
733:
730:
705:
702:
665:Henry Fielding
604:
601:
599:
596:
552:
551:
510:
508:
501:
495:
492:
455:
452:
450:
447:
446:
445:
439:
433:
430:Sally Godfrey:
427:
421:
414:
408:
402:
396:
389:
383:
380:Pamela Andrews
375:
372:
354:
351:
268:
265:
262:
261:
238:
236:
229:
223:
220:
122:
121:
113:
109:
108:
105:
101:
100:
97:
94:
91:
90:
85:
81:
80:
71:
67:
66:
63:
59:
58:
53:
49:
48:
45:
15:
9:
6:
4:
3:
2:
2672:
2661:
2658:
2656:
2653:
2651:
2648:
2646:
2643:
2641:
2638:
2636:
2633:
2631:
2628:
2626:
2623:
2621:
2618:
2616:
2613:
2611:
2608:
2607:
2605:
2596:
2592:
2584:
2582:
2581:
2576:
2574:
2570:
2569:Complete text
2567:
2566:
2565:
2563:
2562:
2556:
2548:
2547:Novels portal
2542:
2537:
2534:
2523:
2513:
2509:
2505:
2501:
2497:
2491:
2487:
2483:
2479:
2474:
2472:
2468:
2464:
2460:
2456:
2452:
2448:
2444:
2440:
2436:
2431:
2427:
2423:
2419:
2413:
2409:
2405:
2401:
2396:
2393:
2389:
2385:
2381:
2377:
2373:
2369:
2365:
2360:
2356:
2350:
2346:
2341:
2337:
2333:
2329:
2325:
2321:
2316:
2312:
2311:j.ctt7zvgnr.8
2308:
2304:
2298:
2294:
2289:
2285:
2281:
2277:
2273:
2269:
2265:
2260:
2257:
2253:
2249:
2245:
2241:
2237:
2233:
2229:
2224:
2220:
2216:
2213:(2): 93–107.
2212:
2208:
2203:
2200:
2196:
2195:
2186:
2182:
2178:
2174:
2171:
2167:
2163:
2160:
2156:
2152:
2148:
2147:
2143:
2142:
2132:
2128:
2124:
2120:
2116:
2112:
2111:
2100:
2096:
2091:
2085:
2081:
2076:
2070:
2066:
2065:
2059:
2051:
2045:
2037:
2031:
2015:
2009:
2001:
1995:
1991:
1990:
1982:
1966:
1962:
1956:
1948:
1944:
1940:
1933:
1927:
1922:
1907:
1903:
1897:
1889:
1883:
1879:
1872:
1864:
1860:
1856:
1852:
1848:
1844:
1840:
1836:
1829:
1821:
1817:
1813:
1809:
1802:
1794:
1790:
1786:
1782:
1779:(3): 256–70.
1778:
1774:
1767:
1759:
1755:
1751:
1747:
1740:
1732:
1728:
1721:
1714:
1713:
1706:
1698:
1694:
1690:
1686:
1682:
1681:
1673:
1665:
1659:
1655:
1654:
1646:
1638:
1634:
1630:
1624:
1620:
1616:
1608:
1607:j.ctv51398g.4
1604:
1600:
1594:
1590:
1587:
1583:
1579:
1575:
1571:
1564:
1549:
1545:
1539:
1530:
1523:
1519:
1518:0-87413-626-1
1515:
1511:
1505:
1497:
1493:
1489:
1485:
1481:
1477:
1473:
1469:
1462:
1460:
1458:
1450:
1449:
1442:
1434:
1428:
1424:
1420:
1416:
1415:
1407:
1399:
1395:
1391:
1385:
1381:
1377:
1373:
1366:
1351:
1347:
1340:
1332:
1328:
1322:
1314:
1310:
1306:
1304:0-19-282960-2
1300:
1295:
1294:
1285:
1278:
1272:
1264:
1258:
1250:
1246:
1242:
1236:
1232:
1225:
1221:
1211:
1208:
1203:
1202:
1196:
1190:
1186:
1185:The Long View
1177:
1176:
1175:The Long View
1170:
1168:
1164:
1160:
1156:
1151:
1150:
1144:
1141:
1136:
1135:
1129:
1125:
1120:
1119:
1113:
1110:
1105:
1104:
1098:
1095:
1090:
1089:
1083:
1080:
1075:
1074:
1068:
1067:
1058:
1054:
1050:
1046:
1042:
1041:
1036:
1033:
1032:
1027:
1026:
1020:
1018:
1014:
1013:bildungsroman
1010:
1006:
1002:
998:
994:
984:
982:
978:
974:
970:
966:
962:
957:
955:
954:
949:
945:
941:
939:
935:
931:
930:Madelonnettes
927:
923:
919:
915:
911:
907:
903:
899:
895:
891:
888:. In France,
887:
883:
873:
871:
867:
863:
859:
855:
850:
848:
844:
840:
836:
832:
828:
820:
816:
812:
798:
795:
791:
789:
784:
779:
776:
771:
764:
758:
756:
755:
749:
746:
742:
739:
729:
727:
723:
719:
714:
712:
701:
697:
695:
691:
690:
685:
681:
680:Eliza Haywood
677:
676:
670:
666:
662:
661:
656:
651:
649:
644:
642:
641:playing cards
638:
634:
630:
625:
623:
618:
609:
595:
593:
588:
583:
578:
573:
568:
564:
562:
558:
548:
545:
537:
527:
523:
517:
516:
511:This section
509:
505:
500:
499:
491:
489:
486:
482:
478:
474:
470:
466:
461:
443:
442:Miss Goodwin:
440:
437:
434:
431:
428:
425:
422:
418:
415:
412:
409:
406:
403:
400:
397:
393:
392:Mr. Williams:
390:
387:
384:
381:
378:
377:
371:
369:
363:
359:
350:
346:
342:
339:
335:
330:
326:
324:
320:
315:
312:
307:
305:
301:
298:
294:
290:
286:
278:
273:
258:
255:February 2020
248:
242:
239:This section
237:
228:
227:
219:
217:
213:
209:
204:
202:
201:
196:
195:
190:
189:
184:
179:
175:
172:
168:
164:
160:
155:
153:
148:
144:
142:
138:
134:
130:
129:
120:
118:
114:
110:
106:
102:
98:
92:
89:
86:
82:
79:
78:Psychological
75:
72:
68:
64:
60:
57:
54:
50:
43:
38:
32:
28:
24:
23:
2579:
2560:
2552:
2511:
2477:
2438:
2434:
2399:
2391:
2367:
2363:
2344:
2319:
2292:
2270:(1): 39–60.
2267:
2263:
2255:
2234:(1): 81–96.
2231:
2227:
2210:
2206:
2198:
2176:
2150:
2139:Bibliography
2130:
2118:
2090:
2075:
2063:
2058:
2044:
2030:
2018:. Retrieved
2008:
1988:
1981:
1969:. Retrieved
1967:. Bloomsbury
1964:
1955:
1946:
1942:
1932:
1921:
1909:. Retrieved
1896:
1877:
1871:
1838:
1834:
1828:
1811:
1807:
1801:
1776:
1772:
1766:
1749:
1745:
1739:
1730:
1725:Burke, Ray.
1720:
1711:
1705:
1679:
1672:
1652:
1645:
1618:
1614:
1589:
1585:
1581:
1577:
1573:
1569:
1563:
1551:. Retrieved
1547:
1538:
1529:
1509:
1504:
1471:
1467:
1447:
1441:
1413:
1406:
1398:j.ctt211qw91
1371:
1365:
1353:. Retrieved
1349:
1339:
1292:
1284:
1276:
1271:
1230:
1224:
1206:
1200:
1188:
1184:
1174:
1166:
1162:
1158:
1154:
1148:
1139:
1133:
1123:
1117:
1108:
1102:
1093:
1088:Sprig Muslin
1087:
1078:
1072:
1044:
1038:
1029:
1016:
1008:
1004:
992:
990:
979:directed by
964:
961:Martin Crimp
958:
951:
943:
942:
905:
893:
879:
862:Tate Britain
851:
825:Around 1742
824:
821:(April 1743)
814:
793:
792:
787:
782:
780:
774:
769:
767:
762:
761:Feminism in
752:
750:
744:
740:
737:
735:
725:
721:
717:
715:
707:
698:
693:
687:
673:
668:
658:
654:
652:
645:
628:
626:
621:
616:
614:
591:
586:
581:
576:
571:
570:The plot of
569:
565:
560:
555:
540:
531:
520:Please help
515:verification
512:
484:
476:
472:
469:conduct book
464:
459:
457:
441:
435:
429:
424:Mrs. Jewkes:
423:
417:Mrs. Jervis:
416:
411:Lady Davers:
410:
404:
398:
391:
385:
379:
364:
360:
356:
347:
343:
331:
327:
323:Lincolnshire
316:
308:
297:Bedfordshire
289:impoverished
282:
276:
252:
245:Please help
240:
222:Plot summary
215:
211:
205:
199:
192:
186:
182:
180:
176:
170:
166:
162:
158:
156:
146:
145:
127:
126:
125:
115:
31:
21:
2610:1740 novels
2510:Watt, Ian.
2185:935-3366712
2020:23 November
1637:H1420048519
1355:16 December
938:Pamela hats
902:Neufchâteau
835:Letter XXIX
801:Adaptations
311:housekeeper
2604:Categories
2108:References
1971:1 December
1814:: 104–33.
1683:(Thesis).
926:Dazincourt
678:(1741) by
534:April 2014
494:Epistolary
374:Characters
133:epistolary
2284:154953411
2192:Criticism
1949:: 114–15.
1911:9 January
1855:163196932
1697:305167953
1584:Tom Jones
1488:166265239
1321:cite book
1257:cite book
1249:769258602
1216:Footnotes
1201:Longbourn
1167:Clarissa.
1073:Jane Eyre
928:) in the
892:put on a
868:and the
856:produced
849:in 1950.
806:Paintings
603:Reception
84:Publisher
2595:LibriVox
2376:26302663
2219:43050924
2144:Editions
2129:(1995).
2117:(1740).
1758:30090731
1693:ProQuest
1689:56607043
1313:46641908
711:marriage
633:waxworks
481:Clarissa
479:Pamela,
353:Volume 2
319:chaplain
267:Volume 1
208:Ian Watt
203:(1753).
194:Clarissa
62:Language
2455:1345466
2384:4947999
2336:2928772
2248:2873051
1793:1345466
1615:Shamela
1576:Shamela
1570:Shamela
1553:5 April
1179:(video)
1149:Voyager
1127:likely.
997:Prévost
886:Goldoni
689:Justine
669:Shamela
420:Pamela.
405:Lady B:
395:prison.
368:Jamaica
334:Jezebel
295:in her
171:Pamela,
107:England
65:English
2580:Pamela
2502:
2492:
2465:
2453:
2424:
2414:
2382:
2374:
2351:
2334:
2309:
2299:
2282:
2246:
2217:
2183:
2168:
2157:
2151:Pamela
1996:
1884:
1863:621725
1861:
1853:
1791:
1756:
1695:
1687:
1660:
1635:
1625:
1605:
1595:
1588:Amelia
1586:, and
1516:
1496:694130
1494:
1486:
1429:
1396:
1386:
1311:
1301:
1247:
1237:
1207:Pamela
1189:Pamela
1163:Pamela
1155:Pamela
1140:Pamela
1109:Pamela
1094:Pamela
1079:Pamela
1045:Pamela
993:Pamela
987:Novels
944:Pamela
890:Boissy
882:Chiari
864:, the
794:Pamela
783:Pamela
775:Pamela
770:Pamela
763:Pamela
745:Pamela
726:Pamela
722:Pamela
718:Pamela
694:Pamela
629:Pamela
617:Pamela
587:Pamela
582:Pamela
577:Pamela
561:Pamela
473:Pamela
465:Pamela
460:Pamela
399:Mr. B:
338:gentry
300:estate
216:Pamela
206:Since
167:Pamela
163:Pamela
152:rakish
147:Pamela
131:is an
119:
52:Author
2500:JSTOR
2451:JSTOR
2422:JSTOR
2372:JSTOR
2332:JSTOR
2307:JSTOR
2280:S2CID
2244:JSTOR
2215:JSTOR
1851:S2CID
1789:JSTOR
1773:Novel
1754:JSTOR
1603:JSTOR
1484:S2CID
1394:JSTOR
1192:'
1049:Turin
876:Stage
467:as a
449:Genre
304:stays
285:pious
70:Genre
2490:ISBN
2463:ISBN
2412:ISBN
2380:PMID
2349:ISBN
2297:ISBN
2181:ISBN
2166:ISBN
2155:ISBN
2099:IMDb
2084:IMDb
2069:IMDb
2022:2018
1994:ISBN
1973:2015
1913:2018
1882:ISBN
1685:OCLC
1658:ISBN
1633:Gale
1623:ISBN
1593:ISBN
1555:2022
1514:ISBN
1427:ISBN
1384:ISBN
1357:2019
1331:link
1327:link
1309:OCLC
1299:ISBN
1263:link
1245:OCLC
1235:ISBN
975:and
932:and
924:and
884:and
635:, a
293:maid
99:1740
2571:at
2482:doi
2443:doi
2404:doi
2324:doi
2272:doi
2236:doi
2228:ELH
2097:at
2082:at
2067:at
1947:135
1843:doi
1816:doi
1781:doi
1617:".
1572:".
1476:doi
1419:doi
1376:doi
817:by
686:'s
663:by
637:fan
524:by
485:and
321:in
2606::
2498:.
2488:.
2469:,
2449:.
2437:.
2420:.
2410:.
2378:.
2368:28
2366:.
2330:.
2305:.
2278:.
2268:12
2266:.
2242:.
2232:54
2230:.
2211:76
2209:.
1963:.
1945:.
1941:.
1904:.
1857:.
1849:.
1839:35
1837:.
1812:34
1810:.
1787:.
1775:.
1750:75
1748:.
1729:.
1691:.
1631:.
1601:.
1582:,
1578:,
1546:.
1520:,
1490:.
1482:.
1472:10
1470:.
1456:^
1425:.
1392:.
1382:.
1348:.
1323:}}
1319:{{
1307:.
1259:}}
1255:{{
1243:.
1059:).
1019:.
983:.
956:.
563:.
483:,
2506:.
2484::
2457:.
2445::
2439:9
2428:.
2406::
2386:.
2357:.
2338:.
2326::
2313:.
2286:.
2274::
2250:.
2238::
2221:.
2187:.
2038:.
2024:.
2002:.
1975:.
1915:.
1890:.
1865:.
1845::
1822:.
1818::
1795:.
1783::
1777:9
1760:.
1733:.
1699:.
1666:.
1639:.
1609:.
1557:.
1524:.
1498:.
1478::
1435:.
1421::
1400:.
1378::
1359:.
1333:)
1315:.
1265:)
1251:.
1111:.
1081:.
908:(
547:)
541:(
536:)
532:(
518:.
257:)
253:(
249:.
243:.
29:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
