801:, 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.
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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
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393:: 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.
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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
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336:, 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.
768:, 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.
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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.
482:, 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
313:. 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
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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.
570:, 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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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,
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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
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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.
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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
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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
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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
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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
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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
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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.
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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.
1172:, 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
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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
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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
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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.
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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).
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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.
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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.
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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
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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.
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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'
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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.
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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
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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
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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
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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.
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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
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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 "
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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
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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.
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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.
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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.).
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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,
1164:, 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
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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.
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was an early commentary on domestic violence and brought into question the dynamic line between male aggression and a contemporary view of love. Moreover,
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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
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many times, the justification of male aggression in a "loving" domestic relationship, as evidenced between Pamela and Mr. B, remains controversial.
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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.
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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
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as inspiration to invent a story that she was fired from her previous position because her employer had made improper advances towards her.
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2172:. Edited by Margaret Ann Doody and Peter Sabor. This edition takes as its copy-text the revised, posthumously published edition of 1801.
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evokes Richardson's title and also borrows from Richardson the conceit of single-letter names to create a very different type of "quasi-
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Given the lax copyright laws at the time, many unofficial sequels were written and published without Richardson's consent, for example,
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was a latent fetishization of Richardson's own fantasies and beliefs regarding women in society. Even though Richardson openly revised
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demonstrates morality and realism as bound up in individuals’ identities and social class because of its form as an epistolary novel.
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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.
2183:. Edited by Thomas Keymer and Alice Wakely. This edition takes as its copy-text the first edition of November 1740 (dated 1741).
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Helps in keeping Pamela at the Lincolnshire estate but proves to be protecting her and helps her escape from Lady Davers.
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was widely read but was also criticised for its perceived licentiousness and disregard for class barriers. Furthermore,
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A Collection of the Moral and Instructive Sentiments, Maxims, Cautions, and Reflexions, Contained in the Histories of
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Some believe that Richardson was one of the first male writers to take a feminist view while he wrote a novel.
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Rogers, Katharine M. (1976). "Sensitive Feminism vs. Conventional Sympathy: Richardson and Fielding on Women".
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Mr. B's mistress from his college days. She has a daughter by Mr. B but removed to Jamaica and married another.
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Three Italian Epistolary Novels: Foscolo, De Meis, Piovene : Translations, Introductions, and Backgrounds
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very narrow scope of womanhood and the sex as a whole. The controversy over the novel is present and ongoing.
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The novel was also integrated into sermons as an exemplar. It was even an early "multimedia" event, producing
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1664:'Pamela' in the Marketplace: Literary Controversy and Print Culture in Eighteenth-Century Britain and Ireland
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Rogers, Katharine (1976). "Sensitive Feminism vs. Conventional Sympathy: Richardson and Fielding on Women".
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Pamela in the Marketplace: Literary Controversy and Print Culture in Eighteenth-Century Britain and Ireland
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suggests that she was not really as virtuous as she may have seemed to be. Another important satire was
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Rivero, Albert J. (2001). "The Place of Sally Godfrey in Richardson's Pamela". In Blewett, David (ed.).
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When Mr. B attempts to pay her to keep his failed seduction secret, she confides in her best friend and
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la Paméla française, ou Lettres d’une jeune paysanne et d’un jeune ci-devant, contenant leurs aventures
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also produced two paintings drawing on scenes and themes from the novel for supper boxes 12 and 16 at
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Dussinger, John A. (1999). "'Ciceronian Eloquence': The Politics of Virtue in Richardson's Pamela".
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Its success also led to several stage adaptations in France and Italy. In Italy, it was adapted by
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English Women's Clothing in the Nineteenth Century: A Comprehensive Guide with 1,117 Illustrations
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Book Illustration in the Long Eighteenth Century: Reconfiguring the Visual Periphery of the Text
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Tillman, Kacy (2016). "Paper Bodies: Letters and Letter Writing in the Early American Novel".
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Pamela's lascivious and abusive employer, who falls in love with and eventually marries her.
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When We Have Sufficiently Tortured Each Other: 12 Variations on Samuel Richardson's Pamela
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because she feared that he would attempt to take advantage of her without marrying her.
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Flynn, Carol Houlihan (1982). "Horrid Romancing: Richardson's Use of the Fairy Tale".
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with Ann Michelle as Pamela Andrews and Julian Barnes as Lord Robert Devenish (Mr. B).
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sexual advances. Mr. B saw Pamela as an object of affection, and a pawn to his game.
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soon led to its translation into other languages, most notably into French by Abbé
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s effect on 18th-century society with that of video games on 20th-century society.
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waistcoat for Mr. B, hoping that by doing so he will let her leave on good terms.
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and bonnets which were worn well into the second half of the nineteenth century.
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Disciplines of Virtue: Girls' Culture in the Eighteenth and Nineteenth Centuries
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Vallone, Lynne (1995). "'The Matter of Letters': Conduct, Anatomy, and Pamela".
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Disciplines of Virtue: Girls' Culture in the Eighteenth and Nineteenth Centuries
1066:) in the series. The role of Mr. B is that of Count Fabrizio Ristori (played by
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to Mr. B less scandalous as she appeared to be more his equal in education.
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Conboy, Sheila C. (1987). "Fabric and Fabrication in Richardson's Pamela".
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prisons. Mademoiselle Lange's straw hat from the play launched a trend for
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Gwilliam, Tassie (1991). "Pamela and the Duplicitous Body of Femininity".
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Gwilliam, Tassie (1991). "Pamela and the Duplicitous Body of Femininity".
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McDermott, Hubert (1986). "Vertue Rewarded: The First Anglo-Irish Novel".
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844:. The painting for Box 12 is now lost but showed the departure scene from
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published it in Philadelphia. However, the novel did not sell well there.
1308:. Keymer, Thomas, 1962-, Wakely, Alice. Oxford: Oxford University Press.
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In 1742, "Pamela" became the first novel to be printed in America when
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539: in this section. Unsourced material may be challenged and removed.
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Blanchard, Jane (2011). "Composing Purpose in Richardson's "Pamela"".
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Levin, Gerald (1971). "Richardson's 'Pamela': 'Conflicting Trends'".
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172:, makes plain Richardson's moral purpose. A best-seller of its time,
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Muret, Théodor (September 1865). Ainsworth, William Harrison (ed.).
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in 1957, literary critics and historians have generally agreed that
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showing Mr. B intercepting Pamela's first letter home to her mother
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played a critical role in the development of the novel in English.
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1726:, pp. 100–02. Cambridge University Press. Retrieved 30 April 2014.
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Deceased; Mr. B's and Lady Daver's mother, Pamela's late employer.
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The Rise of the Novel: Studies in Defoe, Richardson and Fielding
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The Rise of the Novel: Studies in Defoe, Richardson and Fielding
1103:: Amanda, attempting to pass herself off as a lady's maid, uses
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Considered by many literary experts as the first English novel,
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The Rise of the Novel: Studies in Defoe, Richardson and Fielding
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1062:(Italy). The role of Pamela is that of Elisa Scalzi (played by
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1462:, p. xii. Peter Lang Publishing, Inc. Retrieved 30 April 2014.
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attempted both to instruct and to entertain. Richardson wrote
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Passion and Virtue: Essays on the Novels of Samuel Richardson
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A Natural Passion: A Study of the Novels of Samuel Richardson
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Desire and Domestic Fiction: A Political History of the Novel
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707:, due in part to its subtitle, "The Misfortunes of Virtue".
1477:
Belyea, Barbara (1984). "Romance and Richardson's Pamela".
1133:: Some have viewed this novel to be a modern retelling of
30:"Virtue Rewarded" redirects here. For the 1693 novel, see
1018:. More recently, Bay Area author Pamela Lu's first book
1555:"Annotation to image of title page of 1742 US printing"
1456:
Traversa, Vincenzo (2005), transl. Traversa, Vincenzo.
2132:(1st ed.). London: Messrs Rivington & Osborn.
1425:
The Epistolary Novel: Representations of Consciousness
642:-themed cultural artefacts such as prints, paintings,
608:
286:
A plate from the 1742 deluxe edition of Richardson's
2533:
1691:
Samuel Richardson's Revisions to Pamela (1740, 1801)
1602:. University of Pennsylvania Press. pp. 19–46.
974:
uses the text as a "provocation" for his stage play
678:, published under the pseudonym "Mr. Conny Keyber".
146:
novel first published in 1740 by the English writer
1891:. Cambridge Scholars Publishing. pp. 195–242.
486:and so he published a clarification in the form of
2405:. Baltimore: Johns Hopkins University Press, 2002.
1301:
1149:: The character Captain York recommends the novel
931:, which imprisoned its author and cast (including
202:(1742). He revisited the theme of the rake in his
2525:. Berkeley: University of California Press, 1957.
856:as part of the house, collections and gardens of
703:is generally perceived as a critical response to
2612:
2306:. Princeton University Press. pp. 145–195.
208:(1748), and sought to create a "male Pamela" in
2413:. University of Toronto Press. pp. 52–72.
2025:"When We Have Sufficiently Tortured Each Other"
1357:"An introduction to Pamela, or Virtue Rewarded"
1048:2003 – Italian TV series by Cinzia TH Torrini:
754:, claims that the inspiration for Richardson's
671:An Apology for the Life of Mrs. Shamela Andrews
686:The Anti-Pamela; or Feign'd Innocence Detected
654:decorated with lines from Richardson's works.
464:
1624:Johnson, Maurice (2003). "The Art of Parody:
1579:Johnson, Maurice (1961). "The Art of Parody:
298:, virtuous fifteen-year-old, the daughter of
2666:British novels adapted into television shows
2589:Illustration History of Samuel Richardson's
1585:Fielding's Art of Fiction: Eleven Essays on
1336:: CS1 maint: multiple names: authors list (
1272:: CS1 maint: multiple names: authors list (
2403:The Origins of the English Novel: 1600–1740
2353:
1660:
1290:. Berkeley: University of California Press.
1240:Doody, Margaret Anne, Sabor, Peter (2010).
1194:. On 9 January 2007, BBC Radio 4 broadcast
1141:
2212:. New York: Oxford University Press, 1987.
2175:— (Oxford: Oxford University Press, 2008)
2142:Introduction to Samuel Richardson's Pamela
2124:
1996:
1340:) CS1 maint: numeric names: authors list (
360:Though vexed, he does so to her surprise.
51:
2491:. Yale University Press. pp. 26–44.
2272:
2215:
1754:
1720:Keymer, Thomas, and Sabor, Peter (2005).
1667:. Cambridge University Press. p. 5.
1472:
1470:
1468:
1182:
1075:Allusions and references from other works
714:
693:. Although not technically a satire, the
555:Learn how and when to remove this message
2328:
1816:
1156:
883:, each of which has four of the series.
820:
622:Illustration from a 1741 pirated edition
617:
455:The daughter of Mr. B and Sally Godfrey.
281:
2486:
2017:
1886:
1843:
1688:Bender, Ashley Brookner (August 2004).
1623:
1578:
1523:, p. 60. University of Delaware Press.
1380:
1300:Richardson, Samuel, 1689-1761. (2001).
1110:
957:was also the basis for the libretto of
923:, 1 August 1793). Appearing during the
14:
2613:
2443:
2408:
2236:
1781:
1687:
1632:. Vol. 85. Gale. pp. 19–45.
1630:Literature Criticism from 1400 to 1800
1476:
1465:
1242:Samuel Richardson: tercentenary essays
1183:Freedland, Jonathan (9 January 2007),
1080:
1033:
2372:
2354:Keymer, Thomas; Sabor, Peter (2005).
2301:
2136:
2027:. National Theatre. 27 September 2018
1947:
1661:Keymer, Thomas; Sabor, Peter (2005).
1354:
1239:
1208:
1095:
850:William Lowther, 1st Earl of Lonsdale
771:
347:", Mr. Williams entreats the village
302:labourers, who works for Lady B as a
2003:. Courier Corporation. p. 302.
1421:
1125:
909:Comédiens italiens ordinaires du Roi
537:adding citations to reliable sources
508:
236:
2304:Samuel Richardson: A Man of Letters
1937:See the 12 pictures on Utpictura18.
1846:Tulsa Studies in Women's Literature
742:
609:Literary significance and criticism
192:Two years after the publication of
24:
2063:. 1 January 1974 – via IMDb.
1775:
1757:Studies: An Irish Quarterly Review
1039:1974 – UK film by Jim O'Connolly:
762:Prof Hubert McDermott has posited
25:
2682:
2636:British novels adapted into plays
2631:British novels adapted into films
2529:
1735:
905:Paméla ou la Vertu mieux éprouvée
196:, Richardson published a sequel,
2596:
2564:
2550:
2536:
2269:. Oxford: Clarendon Press, 1974.
1521:The Work(s) of Samuel Richardson
1381:Vallone, Lynne (26 April 1995).
1355:Doody, Margaret (21 June 2018).
907:, a verse comedy in three acts (
513:
241:
38:Virtue Rewarded (disambiguation)
2164:(Harmondsworth: Penguin, 2003)
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1997:Cunnington, C. Willett (2013).
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199:Pamela in her Exalted Condition
128:Pamela in her Exalted Condition
27:1740 novel by Samuel Richardson
2358:. Cambridge University Press.
1831:10.1525/rep.1991.34.1.99p00502
1513:
1479:ESC: English Studies in Canada
1450:
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1244:. Cambridge University Press.
1233:
1176:with Richardson's later novel
933:Anne Françoise Elisabeth Lange
917:Paméla ou la Vertu récompensée
811:
13:
1:
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1168:. Another mention is made in
792:The epistolary form in which
666:Pamela's conduct in high life
504:
384:
99:Messrs Rivington & Osborn
2202:
1422:Bray, Joe (29 August 2003).
1226:
877:National Gallery of Victoria
869:a series of twelve paintings
816:
613:
46:Pamela; or, Virtue Rewarded
7:
2641:Novels by Samuel Richardson
2626:18th-century British novels
2604:public domain audiobook at
2572:Pamela; or, Virtue Rewarded
2130:Pamela; or, Virtue Rewarded
1304:Pamela, or, Virtue rewarded
1135:Pamela; or, Virtue Rewarded
603:Pamela; or, Virtue Rewarded
583:Pamela; or, Virtue Rewarded
465:Conduct books and the novel
397:John and Elizabeth Andrews:
363:
288:Pamela; or, Virtue Rewarded
277:
252:may have misleading content
194:Pamela; or, Virtue Rewarded
170:Pamela; or, Virtue Rewarded
139:Pamela; or, Virtue Rewarded
10:
2687:
2661:Novels set in Lincolnshire
2602:Pamela, or Virtue Rewarded
2275:Eighteenth-Century Fiction
1114:The Haunting of Hill House
1081:Brontë, Charlotte (1847),
1010:. It was also imitated by
929:Committee of Public Safety
911:, 4 March 1743), followed
863:Soon afterwards, in 1743,
633:Pamela, or Virtue Rewarded
29:
2446:Novel: A Forum on Fiction
2188:Pamela Or Virtue Rewarded
1428:(1 ed.). Routledge.
1385:. Yale University Press.
1142:O'Brian, Patrick (1979),
1111:Jackson, Shirley (1959),
1096:Heyer, Georgette (1956),
997:
915:'s five-act verse comedy
469:Richardson began writing
122:
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94:
80:
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50:
1954:The New Monthly Magazine
1519:Fysh, Stephanie (1997).
1157:Gabaldon, Diana (1993),
886:
752:Celebrated Pamela (1741)
459:
57:First edition title page
2437:10.3138/9781442678293.9
1950:"Politics on the Stage"
1126:Amis, Kingsley (1960),
799:Pamela, Virtue Rewarded
2497:10.2307/j.ctt211qw91.6
2265:Doody, Margaret Anne.
1391:10.2307/j.ctt211qw91.6
980:Royal National Theatre
833:
749:Memoirs of Lady H, the
715:Richardson's revisions
623:
291:
36:. For other uses, see
2575:at Wikimedia Commons
2419:10.3138/9781442678293
2287:10.1353/ecf.1999.0019
2218:South Atlantic Review
2190:(Lector House, 2019)
1858:10.1353/tsw.2016.0010
1491:10.1353/esc.1984.0044
1434:10.4324/9780203130575
1153:to his dinner guests.
1012:Robert-Martin Lesuire
824:
621:
499:Sir Charles Grandison
285:
211:Sir Charles Grandison
1976:Berg Fashion Library
1559:ExplorePAHistory.com
1129:Take a Girl Like You
1054:is loosely based on
533:improve this article
294:Pamela Andrews is a
2186:Richardson, Samuel
2160:Richardson, Samuel
2138:Doody, Margaret Ann
2106:Alessandro Preziosi
2075:Elisa di Rivombrosa
1544:Fysh (1997), p. 58.
1361:The British Library
1068:Alessandro Preziosi
1051:Elisa di Rivombrosa
1034:Film and television
258:clarify the content
47:
2671:Conduct literature
2651:Sentimental novels
2208:Armstrong, Nancy.
2126:Richardson, Samuel
1286:Watt, Ian (1957).
1216:: Both volumes of
1209:Baker, Jo (2013),
1145:The Fortune of War
964:La buona figliuola
921:Comédiens Français
881:Fitzwilliam Museum
834:
624:
586:words, readers of
447:Monsieur Colbrand:
292:
152:conduct literature
45:
2646:Epistolary novels
2584:Project Gutenberg
2569:Media related to
2506:978-0-300-06172-7
2482:978-0-8204-5917-2
2478:978-3-906769-80-6
2428:978-0-8020-3503-5
2401:McKeon, Michael.
2365:978-0-521-81337-2
2313:978-1-4008-5404-2
2061:"Mistress Pamela"
2010:978-0-486-31963-6
1898:978-1-4438-7309-3
1870:Project MUSE
1674:978-0-521-81337-2
1639:978-1-4144-2478-1
1609:978-1-5128-1251-0
1533:978-0-87413-626-5
1503:Project MUSE
1443:978-0-203-13057-5
1400:978-0-300-23927-0
1251:978-0-521-16919-6
1198:which contrasted
1192:, UK: BBC Radio 4
1028:Publishers Weekly
1014:in his own novel
982:in 2019 starring
978:, opening at the
925:French Revolution
659:Benjamin Franklin
568:Epistolary novels
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2281:(1): 39–60.
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2150:Bibliography
2141:
2129:
2101:
2086:
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2041:
2029:. Retrieved
2019:
1999:
1992:
1980:. Retrieved
1978:. Bloomsbury
1975:
1966:
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1920:. Retrieved
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975:
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969:
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873:Tate Britain
862:
836:Around 1742
835:
832:(April 1743)
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772:Feminism in
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581:The plot of
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531:Please help
526:verification
523:
495:
487:
483:
480:conduct book
475:
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435:Mrs. Jewkes:
434:
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334:Lincolnshire
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300:impoverished
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287:
263:
256:Please help
251:
233:Plot summary
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2621:1740 novels
2521:Watt, Ian.
2196:935-3366712
2031:23 November
1648:H1420048519
1366:16 December
949:Pamela hats
913:Neufchâteau
846:Letter XXIX
812:Adaptations
322:housekeeper
2615:Categories
2119:References
1982:1 December
1825:: 104–33.
1694:(Thesis).
937:Dazincourt
689:(1741) by
545:April 2014
505:Epistolary
385:Characters
144:epistolary
2295:154953411
2203:Criticism
1960:: 114–15.
1922:9 January
1866:163196932
1708:305167953
1595:Tom Jones
1499:166265239
1332:cite book
1268:cite book
1260:769258602
1227:Footnotes
1212:Longbourn
1178:Clarissa.
1084:Jane Eyre
939:) in the
903:put on a
879:and the
867:produced
860:in 1950.
817:Paintings
614:Reception
95:Publisher
2606:LibriVox
2387:26302663
2230:43050924
2155:Editions
2140:(1995).
2128:(1740).
1769:30090731
1704:ProQuest
1700:56607043
1324:46641908
722:marriage
644:waxworks
492:Clarissa
490:Pamela,
364:Volume 2
330:chaplain
278:Volume 1
219:Ian Watt
214:(1753).
205:Clarissa
73:Language
2466:1345466
2395:4947999
2347:2928772
2259:2873051
1804:1345466
1626:Shamela
1587:Shamela
1581:Shamela
1564:5 April
1190:(video)
1160:Voyager
1138:likely.
1008:Prévost
897:Goldoni
700:Justine
680:Shamela
431:Pamela.
416:Lady B:
406:prison.
379:Jamaica
345:Jezebel
306:in her
182:Pamela,
118:England
76:English
2591:Pamela
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2257:
2228:
2194:
2179:
2168:
2162:Pamela
2007:
1895:
1874:621725
1872:
1864:
1802:
1767:
1706:
1698:
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1636:
1616:
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1507:694130
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1497:
1440:
1407:
1397:
1322:
1312:
1258:
1248:
1218:Pamela
1200:Pamela
1174:Pamela
1166:Pamela
1151:Pamela
1120:Pamela
1105:Pamela
1090:Pamela
1056:Pamela
1004:Pamela
998:Novels
955:Pamela
901:Boissy
893:Chiari
875:, the
805:Pamela
794:Pamela
786:Pamela
781:Pamela
774:Pamela
756:Pamela
737:Pamela
733:Pamela
729:Pamela
705:Pamela
640:Pamela
628:Pamela
598:Pamela
593:Pamela
588:Pamela
572:Pamela
484:Pamela
476:Pamela
471:Pamela
410:Mr. B:
349:gentry
311:estate
227:Pamela
217:Since
178:Pamela
174:Pamela
163:rakish
158:Pamela
142:is an
130:
63:Author
2511:JSTOR
2462:JSTOR
2433:JSTOR
2383:JSTOR
2343:JSTOR
2318:JSTOR
2291:S2CID
2255:JSTOR
2226:JSTOR
1862:S2CID
1800:JSTOR
1784:Novel
1765:JSTOR
1614:JSTOR
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1405:JSTOR
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1060:Turin
887:Stage
478:as a
460:Genre
315:stays
296:pious
81:Genre
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2474:ISBN
2423:ISBN
2391:PMID
2360:ISBN
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2192:ISBN
2177:ISBN
2166:ISBN
2110:IMDb
2095:IMDb
2080:IMDb
2033:2018
2005:ISBN
1984:2015
1924:2018
1893:ISBN
1696:OCLC
1669:ISBN
1644:Gale
1634:ISBN
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1566:2022
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