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Samuel Richardson

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388:, urging young men like himself to be diligent and self-denying. The work was intended to "create the perfect apprentice". Written in response to the "epidemick Evils of the present Age", the text is best known for its condemnation of popular forms of entertainment including theatres, taverns and gambling. The manual targets the apprentice as the focal point for the moral improvement of society, not because he is most susceptible to vice, but because, Richardson suggests, he is more responsive to moral improvement than his social betters. During this time, Richardson took on five more apprentices: Thomas Verren (1 August 1732), Richard Smith (6 February 1733), Matthew Stimson (7 August 1733), Bethell Wellington (7 May 1734), and Daniel Green (1 October 1734). His total staff during the 1730s numbered seven, as his first three apprentices were free by 1728, and two of his apprentices, Verren and Smith, died soon into their apprenticeship. The loss of Verren was particularly devastating to Richardson because Verren was his nephew and his hope for a male heir that would take over the press. 259:; and five of them particularly delighted to single me out, either for a walk, or at their father's houses, or at mine, to tell them stories, as they phrased it. Some I told them, from my reading, as true; others from my head, as mere invention; of which they would be most fond, and often were affected by them. One of them particularly, I remember, was for putting me to write a history, as he called it, on the model of Tommy Pots; I now forget what it was, only that it was of a servant-man preferred by a fine young lady (for his goodness) to a lord, who was a libertine. All of my stories carried with them, I am bold to say, a useful moral. 353:
live past his mother for a year longer, but succumbed to illness in 1732. After his final son died, Richardson attempted to move on with his life. He married Elizabeth Leake, whose father was a printer, and the two moved into another house on Blue Ball Court. However, Elizabeth and his daughter were not the only ones living with him because Richardson allowed five of his apprentices to lodge in his home. Elizabeth had six children (five daughters and one son) with Richardson; four of their daughters, Mary, Martha, Anne, and Sarah, reached adulthood and survived their father. Their son, another Samuel, was born in 1739 and died in 1740.
397: 684:, which was published in eight volumes between 1752–1755. However, Stinstra later wrote in a letter to Richardson of 24 December 1753 that the translation had been "a burden too heavy for shoulders". In England there was particular emphasis on Richardson's "natural creativity" and his ability to incorporate daily life experience into the novel. However, the final three volumes were delayed, and many of the readers began to "anticipate" the concluding story and some demanded that Richardson write a happy ending. One such advocate of the happy ending was Henry Fielding, who had previously written 357: 40: 881:
into a novel's characters. This allowed a stronger sense of engagement with the text to develop. Richardson structured his epistolary work to offer multiple perspectives so readers could interpret the text in varied ways. However, Richardson "hoped he would eventually convince his audience to read in the ways that he chose—ways that he hoped would lead to moral regeneration." These epistolary novels were a "moral project" as well as a literary one; Susan Whyman writes that Richardson's "goal was not only to reform reading practices but to reform lives as well."
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writing letters. One such letter, written when Richardson was almost 11, was directed to a woman in her 50s who was in the habit of constantly criticizing others. "Assuming the style and address of a person in years", Richardson cautioned her about her actions. However, his handwriting was used to determine that it was his work, and the woman complained to his mother. The result was, as he explains, that "my mother chid me for the freedom taken by such a boy with a woman of her years" but also "commended my principles, though she censured the liberty taken".
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kind; the disease made its gradual approaches by that heaviness which clouded the cheerfulness of his conversation, that used to be so lively and so instructive; by the increased tremblings which unfitted that hand so peculiarly formed to guide the pen; and by, perhaps, the querulousness of temper, most certainly not natural to so sweet and so enlarged a mind, which you and I have lately lamented, as making his family at times not so comfortable as his principles, his study, and his delight to diffuse happiness, wherever he could, would otherwise have done
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well-known Salisbury Court, his printing shop was more accurately located on the corner of Blue Ball Court and Dorset Street in a house that later became Bell's Building. On 23 November 1721, Richardson married Martha Wilde, the daughter of his former employer. The match was "prompted mainly by prudential considerations", although Richardson would claim later that there was a strong love-affair between Martha and him. He soon brought her to live with him in the printing shop that served also as his home.
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four sons and a nephew, his printing press would be left in his will to his only surviving male heir, a second nephew. This happened to be a nephew whom Richardson did not trust, doubting his abilities as a printer. Richardson's fears proved well-founded, for after his death the press stopped producing quality works and eventually stopped printing altogether. Richardson owned copyrights to most of his works, and these were sold after his death, in twenty-fourth share issues, with shares in
337:. This was a Jacobite political paper which attacked the government and was soon censored for printing "common libels". However, Richardson's name was not on the publication, and he was able to escape any of the negative fallout, although it is possible that Richardson participated in the papers as far as actually writing one himself. The only lasting effect from the paper would be the incorporation of Wharton's libertine characteristics in the character of Lovelace in Richardson's 472:... Little did I think, at first, of making one, much less two volumes of it... I thought the story, if written in an easy and natural manner, suitably to the simplicity of it, might possibly introduce a new species of writing, that might possibly turn young people into a course of reading different from the pomp and parade of romance-writing, and dismissing the improbable and marvellous, with which novels generally abound, might tend to promote the cause of religion and virtue. 732: 318:
decided to devote himself completely to his apprenticeship, and he worked his way up to a position as a compositor and a corrector of the shop's printing press. In 1713, Richardson left Wilde to become "Overseer and Corrector of a Printing-Office". This meant that Richardson ran his own shop, but the location of that shop is unknown. It is possible that the shop was located in Staining Lane or may have been jointly run with John Leake in Jewin Street.
2070: 593:, to question your infallible success in this new, natural, attempt" and that "you must give me leave to be astonished, when you tell me that you have finished it already". However, the novel was not complete to Richardson's satisfaction until October 1746. Between 1744 and 1746, Richardson tried to find readers who could help him shorten the work, but his readers wanted to keep the work in its entirety. A frustrated Richardson wrote to 784: 2058: 579: 2031: 2003: 477: 307:
intended high things for me; these were all the opportunities I had in my apprenticeship to carry it on. But this little incident I may mention; I took care that even my candle was of my own purchasing, that I might not, in the most trifling instance, make my master a sufferer (and who used to call me the pillar of his house) and not to disable myself by watching or sitting-up, to perform my duty to him in the day time.
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of water, and was not robust enough to prevent the effects of being bled upon the advice of various doctors throughout his life. He was known for "vague 'startings' and 'paroxysms'", along with experiencing tremors. Richardson once wrote to a friend that "my nervous disorders will permit me to write with more impunity than to read" and that writing allowed him a "freedom he could find nowhere else".
892:, he had more experience in the form and expanded the letter writing to four different correspondents, which created a complex system of characters encouraging each other to grow and develop over time. However, the villain of the story, Lovelace, is also involved in the letter writing, and this leads to tragedy. Leo Braudy described the benefits of the epistolary form of 553:, in December 1741. The novel had a poorer reception than the first, as Peter Sabor writes, "the continuation is a far blander affair than the original work," focusing on Pamela's gentility and married life. The public's interest in the characters was waning, and this was only furthered by Richardson's focusing on Pamela discussing morality, literature, and philosophy. 2017: 532:. The book contained many anecdotes and lessons on how to live, but Richardson did not care for the work and it was never expanded even though it went into six editions during his life. He went so far as to tell a friend, "This volume of letters is not worthy of your perusal" because they were "intended for the lower classes of people". 547:, the latter being a third-person retelling of both Richardson's original novel and Kelly's continuation. These unofficial sequels capitalized off the character's popularity and readers desire to learn what happened to Pamela and Mr. B after the conclusion of Richardson's novel. This compelled Richardson to write a sequel to the novel, 900:, he transforms the letter writing from telling of personal insights and explaining feelings into a means for people to communicate their thoughts on the actions of others and for the public to celebrate virtue. The letters are no longer written for a few people, but are passed along in order for all to see. The characters of 274:
and even repulse, when an offence was either taken or given, at the very time that the heart of the chider or repulser was open before me, overflowing with esteem and affect". Although this helped his writing ability, he in 1753 advised the Dutch minister Stinstra not to draw large conclusions from these early actions:
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after years, he disclaimed". At the age of 17, in 1706, Richardson was bound in seven-year apprenticeship under John Wilde as a printer. Wilde's printing shop was in Golden Lion Court on Aldersgate Street, and Wilde had a reputation as "a master who grudged every hour... that tended not to his profit".
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till very lately, that foundation was divided into several schools, none of which partook of the lessons of the others; and Richardson, agreeably to his father's intention of bringing him up to trade, was most probably confined to the writing school, where all that was taught was writing and arithmetic.
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Richardson was a skilled letter writer and his talent traces back to his childhood. Throughout his whole life, he would constantly write to his various associates. Richardson had a "faith" in the act of letter writing, and believed that letters could be used to accurately portray character traits. He
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Poor Mr. Richardson was seized on Sunday evening with a most severe paralytic stroke.... It sits pleasantly upon my mind, that the last morning we spent together was particularly friendly, and quiet, and comfortable. It was 28 May – he looked then so well! One has long apprehended some stroke of this
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was published in full: two volumes appeared in November 1747, two in April 1748, and three in December 1748. Unlike the novel, the author was not faring well at this time. By August 1748, Richardson was in poor health. He had a sparse diet that consisted mostly of vegetables and drinking vast amounts
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him to allow them, and were usually allowed by other masters to their apprentices. I stole from the hours of rest and relaxation, my reading times for improvement of my mind; and, being engaged in correspondence with a gentleman, greatly my superior in degree, and of ample fortune, who, had he lived,
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Little is known of Richardson's early years beyond the few things that Richardson was willing to share. Although he was not forthcoming with specific events and incidents, he did talk about the origins of his writing ability; Richardson would tell stories to his friends and spent his youth constantly
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The trade his father pursued was that of a joiner (a type of carpenter, but Richardson explains that it was "then more distinct from that of a carpenter than now it is with us"). In describing his father's occupation, Richardson stated that "he was a good draughtsman and understood architecture", and
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During Richardson's life, his printing press produced about 10,000 pieces, including novels, historical texts, Acts of Parliament, and newspapers, making his print house one of the most productive and diverse in the 18th century. He wanted to keep the press in his family, but after the death of his
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In 1749, Richardson's female friends started asking him to create a male figure as virtuous as his heroines "Pamela" and "Clarissa" in order to "give the world his idea of a good man and fine gentleman combined". Although he did not at first agree, he eventually complied, starting work on a book in
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A key moment in Richardson's career came on 6 August 1722 when he took on his first apprentices: Thomas Gover, George Mitchell, and Joseph Chrichley. He would later take on William Price (2 May 1727), Samuel Jolley (5 September 1727), Bethell Wellington (2 September 1729), and Halhed Garland (5 May
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The elder Richardson originally wanted his son to become a clergyman, but he was not able to afford the education that the younger Richardson would require, so he let his son pick his own profession. He selected the profession of printing because he hoped to "gratify a thirst for reading, which, in
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You think, Sir, you can account from my early secretaryship to young women in my father's neighbourhood, for the characters I have drawn of the heroines of my three works. But this opportunity did little more for me, at so tender an age, than point, as I may say, or lead my enquiries, as I grew up,
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It is a fact not generally known that Richardson... received what education he had (which was very little, and did not go beyond English) at Christ's Hospital. It may be wondered how he could come no better taught from a school which had sent forth so many good scholars; but in his time, and indeed
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in London. This house, which would be Richardson's residence from 1739 to 1754, was later named "The Grange" in 1836. In 1739, Richardson was asked by his friends Charles Rivington and John Osborn to write "a little volume of Letters, in a common style, on such subjects as might be of use to those
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After his writing ability was known, he began to help others in the community write letters. In particular, Richardson, at the age of 13, helped many of the girls that he associated with to write responses to various love letters they received. As Richardson claims, "I have been directed to chide,
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form, which granted him "the tools, the space, and the freedom to develop distinctly different characters speaking directly to the reader". The epistolary form gave Richardson, as well as others, the means to impact his audience more effectively as readers were able to get a more intimate insight
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Over their ten years of marriage, the Richardsons had five sons and one daughter – three of the boys were successively named Samuel after their father, but all three died young. Soon after the death of William, their fourth child, Martha died on 25 January 1731. Their youngest son, Samuel, was to
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after November 1748. To Hill he wrote: "The Whole will make Seven; that is, one more to attend these two. Eight crouded into Seven, by a smaller Type. Ashamed as I am of the Prolixity, I thought I owed the Public Eight Vols. in Quantity for the Price of Seven". Richardson later made it up to the
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that set the tone for Richardson's followers after his death. However, he was continually prompted by various friends and admirers to continue to write along with suggested topics. Richardson did not like any of the topics, and chose to spend all of his time composing letters to his friends and
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and relied on multiple London printing firms to help him produce an authentic edition before the pirated version was sold. The first four volumes were published on 13 November 1753, and in December the next two would follow. The remaining volume was published in March to complete a seven-volume
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While working for Wilde, he met a rich gentleman who took an interest in Richardson's writing abilities and the two began to correspond with each other. When the gentleman died a few years later, Richardson lost a potential patron, which delayed his ability to pursue his own writing career. He
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In 1719, Richardson was able to take his freedom from being an apprentice and was soon able to afford to set up his own printing shop, which he did after he moved near the Salisbury Court district close to Fleet Street. Although he claimed to business associates that he was working out of the
156:. Richardson had been apprenticed to a printer, whose daughter he eventually married. He lost her along with their six children, but remarried and had six more children, of whom four daughters reached adulthood, leaving no male heirs to continue the print shop. As it ran down, he wrote his 888:, he explored the various complexities of the title character's life, and the letters allow the reader to witness her develop and progress over time. The novel was an experiment, but it allowed Richardson to create a complex heroine through a series of her letters. When Richardson wrote 199:, Derbyshire, to Samuel and Elizabeth Richardson. It is unsure where in Derbyshire he was born because Richardson always concealed the location, but it has recently been discovered that Richardson probably lived in poverty as a child. The older Richardson was, according to the younger: 203:
a very honest man, descended of a family of middling note, in the country of Surrey, but which having for several generations a large number of children, the not large possessions were split and divided, so that he and his brothers were put to trades; and the sisters were married to
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if the temporary sufferings of the Virtuous and the Good can be accounted for and justified on Pagan principles, many more and infinitely stronger reasons will occur to a Christian Reader in behalf of what are called unhappy Catastrophes, from a consideration of the doctrine of
433:, he was also printer to the "Society for the Encouragement of Learning", a group that tried to help authors become independent from publishers, but collapsed soon after. In December 1738, Richardson's printing business was successful enough to allow him to lease a house in 765:
to Mrs. Donnellan, and the novel was being finalized in the middle of 1752. When the novel was being printed in 1753, Richardson discovered that Irish printers were trying to pirate the work. He immediately fired those he suspected of giving the printers advanced copies of
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by damning his character with monitory footnotes and authorial intrusions, Richardson was free to develop in his fiction his villain's fantasy world. Schemes of mass rape would be legitimate as long as Richardson emphasized the negative aspects of his character at the same
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You have formed a style, as much your property as our respect for what you write is, where verbosity becomes a virtue; because, in pictures which you draw with such a skilful negligence, redundance but conveys resemblance; and to contract the strokes, would be to spoil the
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The response to the novel was positive, and the public began to describe the title heroine as "divine Clarissa". It was soon considered Richardson's "masterpiece", his greatest work, and was rapidly translated into French in part or in full, for instance by the abbé
491:, represented "Richardson's insistence upon well-defined feminine roles" and was part of a common fear held during the 18th century that women were "too bold". In particular, her "zeal for housewifery" was included as a proper role of women in society. Although 775:, Richardson was unwilling to risk having a negative response to any "rakish" characteristics that Lovelace embodied, and denigrated the immoral characters "to show those mischievous young admirers of Lovelace once and for all that the rake should be avoided". 704:, I look upon as a very well-wrote thing, tho' it must be allowed it is too prolix. The author keeps up the character of every person in all places; and as to the maner of its ending, I like it better than if it had terminated in more happy consequences." 1097:
A Seasonable Examination of the Pleas and Pretensions Of the Proprietors of, and Subscribers to, Play-Houses, Erected in Defiance of the Royal License. With Observations on the Printed Case of the Players belonging to Drury-Lane and Covent-Garden
799:, other important political figures, and many London writers. By that time, he enjoyed a high social position and was Master of the Stationers' Company. In early November 1754, Richardson and his family moved from the Grange to a home at 601:
What contentions, what disputes have I involved myself in with my poor Clarissa through my own diffidence, and for want of a will! I wish I had never consulted anybody but Dr. Young, who so kindly vouchsafed me his ear, and sometimes his
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it was suggested by Samuel Richardson's son-in-law that the senior Richardson was a cabinetmaker and an exporter of mahogany while working at Aldersgate-street. The abilities and position of his father brought him to the attention of
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with the help of Sarah Fielding and possibly James Harris or Richardson, and it was Richardson who printed the work. But Collier was not the only author to be helped by Richardson, as he printed an edition of Young's
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In the progress of , writing two or three letters to instruct handsome girls, who were obliged to go out to service, as we phrase it, how to avoid the snares that might be laid against their virtue, and hence sprung
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His mother, according to Richardson, "was also a good woman, of a family not ungenteel; but whose father and mother died in her infancy, within half-an-hour of each other, in the London pestilence of 1665".
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I served a diligent seven years to it; to a master who grudged every hour to me that tended not to his profit, even of those times of leisure and diversion, which the refractoriness of my fellow-servants
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Others wanted Lovelace to be reformed and for him and Clarissa to marry, but Richardson would not allow a "reformed rake" to be her husband, and was unwilling to change the ending. In a postscript to
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public with "deferred Restorations" of the fourth edition of the novel being printed in larger print with eight volumes and a preface that reads: "It is proper to observe with regard to the
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However, this conflicts with Richardson's nephew's account that "'it is certain that was never sent to a more respectable seminary' than 'a private grammar school' located in Derbyshire".
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Richardson did not devote all of his time just to working on his new novel, but was busy printing various works for other authors that he knew. In 1742, he printed the third edition of
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After Richardson started the work on 10 November 1739, his wife and her friends became so interested in the story that he finished it on 10 January 1740. Pamela Andrews, the heroine of
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However, some did question the propriety of having Lovelace, the villain of the novel, act in such an immoral fashion. The novel avoids glorifying Lovelace, as Carol Flynn puts it,
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two chapters to read. In particular, Richardson asked Hill if he could help shorten the chapters because Richardson was worried about the length of the novel. Hill refused, saying,
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asking for money to pay a debt that Johnson was unable to afford. On 16 March 1756, Richardson responded with more than enough money and their friendship was certain by this time.
341:, although Wharton would be only one of many models of libertine behaviour that Richardson would find in his life. In 1724, Richardson befriended Thomas Gent, Henry Woodfall, and 1979:
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,
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In July, Richardson sent Hill a complete "design" of the story, and asked Hill to try again, but Hill responded, "It is impossible, after the wonders you have shown in
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Krake, Astrid (2006). "He could go no farther: The Rape of Clarissa in 18th–Century Translations". In Cointre, Annie; Lautel–Ribstein, Florence; Rivara, Annie (eds.).
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A Collection of the Moral and Instruction Sentiments, Maxims, Cautions, and Reflexions, contained in the Histories of Pamela, Clarissa, and Sir Charles Grandison
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Although few were bothered by the epistolary style, Richardson feels obliged to continue his postscript with a defence of the form based on the success of it in
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Letters written to and for particular Friends, on the most important Occasions. Directing not only the requisite Style and Forms to be observed in writing
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sequels, Richardson began to compose a new novel. It was not until early 1744 that the content of the plot was known, and this happened when he sent
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and the title heroine were popular and gave a proper model for how women should act, they inspired "a storm of anti-Pamelas" (like Henry Fielding's
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A compilation of letters published as a manual, with directions on How to think and act justly and prudently in the Common Concerns of Human Life
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are revealed in a personal way, with the first two using the epistolary form for "dramatic" purposes, and the last for "celebratory" purposes.
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to write novels. By 1748, Richardson was so impressed with Collier that he accepted her as the governess to his daughters. In 1753, she wrote
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that it has been thought fit to restore many Passages, and several Letters which were omitted in the former merely for shortening-sake."
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I recollect that I was early noted for having invention. I was not fond of play, as other boys; my school-fellows used to call me
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At the same time as he was associating with important figures of the day, Richardson's career as a novelist drew to a close.
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country readers, who were unable to indite for themselves". While writing this volume, Richardson was inspired to write his
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The Spiritual Side of Samuel Richardson, Mysticism, Behmenism and Millenarianism in an Eighteenth-Century English Novelist
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The Spiritual Side of Samuel Richardson, Mysticism, Behmenism and Millenarianism in an Eighteenth-Century English Novelist
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The Spiritual Side of Samuel Richardson, Mysticism, Behmenism and Millenarianism in an Eighteenth-Century English Novelist
823:. Although it is possible that this work was inspired by Johnson asking for an "index rerum" for Richardson's novels, the 1131:(2 volumes) 1st and 2nd Editions by Lady Marguerite de Lussan (as assistant translator of an anonymous female translator) 334: 229:
The Richardsons were not exiled forever from London; they eventually returned, and the young Richardson was educated at
2194: 1790: 152:(1753). He printed almost 500 works, including journals and magazines, working periodically with the London bookseller 20: 2126: 1878: 408: 377: 365: 214: 2224: 935: 614:. He filled his few further years with smaller works for his friends until 1748, when Richardson started helping 549: 217:. However, as Richardson claims, this was to Richardson senior's "great detriment" because of the failure of the 2189: 669: 1915:
Sabor, Peter (2004). "Richardson, Henry Fielding, and Sarah Fielding". In Keymer, Thomas; Mee, Jon (eds.).
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Richardson made the transition from master printer to novelist on 6 November 1740 with the publication of
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One of Richardson's first major printing contracts came in June 1723 when he began to print the bi-weekly
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as, "Language can work: letters can be ways to communicate and justify". By the time Richardson writes
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After June 1758, Richardson began to suffer from insomnia, and in June 1761, he was afflicted with
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contains more of a focus on "moral and instructive" lessons than the index that Johnson sought.
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was the distinguished Mennonite preacher, Johannes Stinstra (1708–1790), who as a champion of
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Greene, Mildred Sarah (1992). "The French Clarissa". In Fell, Christa; Leith, James (eds.).
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Two days later, aged 71, on 4 July 1761, Richardson died at Parsons Green and was buried at
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had been suspended from the ministry in 1742. This gave him sufficient leisure to translate
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New Approaches to Eighteenth-Century Literature: Selected Papers from the English Institute
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series while a six-volume set was simultaneously published, and these met with success. In
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at the age of 51 and joined the admired writers of his day. Leading acquaintances included
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How art produces art: Samuel Richardsons Clarissa im Spiegel ihrer deutschen Ăśbersetzungen
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and thought a happy ending would be "poetical justice". Those who disagreed included the
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Whyman, Susan E. "Letter Writing and the Rise of the Novel: The Epistolary Literacy of
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However, his condition did not stop him from continuing to release the final volumes
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this vein in June 1750. Near the end of 1751, Richardson sent a draft of the novel
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but how to think and act justly and prudently, in the common Concerns of Human Life
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Man and Nature: Proceedings of the Canadian Society for Eighteenth-Century Studies
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grammar school. The extent that he was educated at the school is uncertain, and
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Later that year, Richardson printed Rivington and Osborn's book which inspired
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He continued to explain that he did not fully understand females until writing
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Companions Without Vows: Relationships Among Eighteenth–Century British Women
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Carroll, John (1 January 1972). "Review of Samuel Richardson. A Biography".
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But Richardson still felt the need to respond by writing a pamphlet called
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was his final novel, and he stopped writing fiction afterwards. It was
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associates. The only major work that Richardson would write would be
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Multiple sequels to Pamela were written by other writers, such as
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edited by Philip Harth. New York: Columbia University Press, 1974
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The Life and heroic Actions of Balbe Berton, Chevalier de Grillon
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The Cambridge companion to English literature from 1740 to 1830
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Richardson, one of nine children, was probably born in 1689 in
1911:. Athens, Georgia: University of Georgia Press, 1994. 439 pp. 1028:
Conjectures on Original Composition in a Letter to the Author
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and Millenarianism in an Eighteenth–Century English Novelist
1737:, 2nd e., ed. G. H. Jennings (Oxford etc.: OUP, 1979), p. 2. 753:
Answer to the Letter of a Very Reverend and Worthy Gentleman
1936: 1919:. Cambridge: Cambridge University Press. pp. 139–156. 1621:
Edited by Adrian Poole. Cambridge University Press, 2009
1619:
The Cambridge Companion to English Novelists, Cambridge.
791:
In his final years, Richardson received visits from the
966:(1753–1761) – restored and corrected through 4 editions 419:
Work continued to improve, and Richardson printed the
517:) because the character "perfectly played her part". 187:; the two responded to each other's literary styles. 2132:
The Spiritual Side of Samuel Richardson: Mysticism,
1998: 700:
diarist Thomas Turner, writing in about July 1754: "
376:
In 1733, Richardson was granted a contract with the
1925: 672:, as well as into German. The Dutch translator of 401:Samuel Richardson reading aloud the manuscript of 2145:"Archival material relating to Samuel Richardson" 1828:Braudy, Leo. "Penetration and Impenetrability in 1234:, Gerda J. Joling-van der Sar, 2003, pp. 111–141. 2171: 1937:Scheuer, J. L. & Bowman, J. E. (June 1994). 463:. Richardson explained the origins of the work: 312:– Samuel Richardson on his time with John Wilde. 1812:New Approaches to Eighteenth-Century Literature 1724:, Gerda J. Joling-van der Sar, 2003, pp. 12–13. 867:, sold in sixteenths, went for 18 pounds each. 1891:La traduction du discours amoureux (1660–1830) 1654:Richardson, Henry Fielding, and Sarah Fielding 19:For other people named Samuel Richardson, see 1852:. Princeton: Princeton University Press, 1982 1071:– 3rd, 4th, 5th, and 6th editions (1742–1761) 625:An Essay on the Art of Ingeniously Tormenting 1844:. Honolulu: University Press of the Pacific. 1246:, Gerda J. Joling-van der Sar, 2003, p. 128. 1180:(online ed.). Oxford University Press. 287:, and these letters were only a beginning. 2153: 38: 1962: 1438: 1436: 1434: 1432: 1430: 1428: 1426: 1424: 1422: 1420: 1418: 1416: 1414: 1412: 1410: 1408: 1406: 1404: 1402: 1400: 1398: 1396: 1394: 1392: 1390: 1388: 1386: 1384: 1382: 1380: 1378: 1376: 1374: 1372: 1370: 1368: 1366: 1364: 1362: 1360: 1358: 1356: 1354: 1352: 1350: 1348: 1346: 1344: 1342: 1340: 1338: 1336: 1334: 1332: 1330: 1328: 1326: 1324: 1322: 1320: 1318: 1316: 1314: 1312: 1310: 1308: 1306: 1304: 1302: 1300: 1298: 1296: 1294: 1292: 1290: 1288: 1286: 1284: 1282: 1280: 1278: 1276: 1274: 1272: 1174:Dussinger, John A. "Richardson, Samuel". 970:The History of Mrs. Beaumont – A Fragment 944:Clarissa, or, the History of a Young Lady 931:(1740–1761) – revised through 14 editions 859:bringing in 25 pounds each and those for 648:Portrait of Richardson from the 1750s by 2081:Works by Samuel Richardson in eBook form 1943:Journal of the Royal Society of Medicine 1771: 1665: 1663: 1647: 1645: 1595: 1593: 1591: 1589: 1587: 1585: 1583: 1581: 1579: 1577: 1270: 1268: 1266: 1264: 1262: 1260: 1258: 1256: 1254: 1252: 1049:– 1st, 2nd, and 3rd editions (1739–1753) 782: 730: 643: 577: 475: 395: 355: 264:— Samuel Richardson on his storytelling. 143:Clarissa: Or the History of a Young Lady 1932:. Ithaca, NY: Cornell University Press. 1633: 1575: 1573: 1571: 1569: 1567: 1565: 1563: 1561: 1559: 1557: 1527: 1525: 1523: 1521: 1519: 1517: 1515: 1513: 1511: 1509: 1507: 1505: 1503: 1501: 1442: 1177:Oxford Dictionary of National Biography 947:(1747–61) – revised through 4 editions 407:. Coloured Engraving by Miss Highmore. 345:, the latter of those would become the 2172: 1864: 1855: 1839: 1803: 1748:"Samuel Richardson | English novelist" 1499: 1497: 1495: 1493: 1491: 1489: 1487: 1485: 1483: 1481: 1080:by Anna Meades – revised and corrected 863:bringing in 20 pounds each. Shares in 429:in 1738. During his time printing the 380:, with help from Onslow, to print the 16:English writer and printer (1689–1761) 1914: 1898: 1887: 1785: 1783: 1660: 1642: 1613: 1611: 1249: 1173: 1923: 1774:Samuel Richardson of London, printer 1554: 1469: 963:The History of Sir Charles Grandison 762:The History of Sir Charles Grandison 149:The History of Sir Charles Grandison 2099:Works by or about Samuel Richardson 1850:Samuel Richardson: A Man of Letters 1797:, vol. 70, no. 4, 2007, pp. 577-VII 1617:Sabor, Peter. "Samuel Richardson." 1602:Samuel Richardson: A Man of Letters 1478: 1141: 870: 335:Philip Wharton, 1st Duke of Wharton 279:into the knowledge of female heart. 13: 1809: 1780: 1735:The Diary of a Georgian Shopkeeper 1608: 1470:Hunt, Leigh (1834), "Supplement", 1154:Letter from an Uncle to his Nephew 1030:1st and 2nd editions (1759) (with 21:Samuel Richardson (disambiguation) 14: 2236: 2215:18th-century English male writers 2138:, G. J. Joling–van der Sar, 2003 2127:National Portrait Gallery, London 1994: 1928:Samuel Richardson: Master Printer 1684: 1669: 1651: 1599: 1534:Samuel Richardson: Master Printer 951:Letters and Passages Restored to 360:Portrait of Samuel Richardson by 215:James Scott, 1st Duke of Monmouth 2115: 2068: 2056: 2044: 2029: 2015: 2001: 1795:The Huntington Library Quarterly 1531: 1022:A Collection of Moral Sentiments 175:, and the theologian and writer 1765: 1740: 1727: 1715: 1702: 1693: 1678: 1627: 936:Pamela in her Exalted Condition 556: 550:Pamela in her Exalted Condition 455:was sometimes regarded as "the 423:between 1736 and 1737, and the 347:Speaker of the House of Commons 290: 2220:18th-century English novelists 1540: 1463: 1237: 1225: 1200: 1167: 1084: 976: 391: 1: 1822: 1445:The Review of English Studies 1001:The Case of Samuel Richardson 537:Pamela's Conduct in High Life 405:to a group of friends in 1751 224: 183:. In literature, he rivalled 117:Martha Wilde, Elizabeth Leake 2210:18th-century English writers 1194:UK public library membership 1038: 983:A Reply to the Criticism of 851:near his first wife Martha. 190: 7: 2114:(public domain audiobooks) 1212:www.millar-project.ed.ac.uk 1091:The Apprentice's Vade Mecum 1077:William Harrington (knight) 928:Pamela; or, Virtue Rewarded 448:Pamela: or, Virtue Rewarded 386:The Apprentice's Vade Mecum 137:Pamela; or, Virtue Rewarded 10: 2241: 2108:Works by Samuel Richardson 2090:Works by Samuel Richardson 1955:10.1177/014107689408700616 1871:Cambridge University Press 1672:Companions Without Vows... 1634:Collier (4 October 1748), 612:Tour through Great Britain 561:After the failures of the 18: 2195:People from Parsons Green 1924:Sale, William M. (1950). 920: 409:National Portrait Gallery 366:National Portrait Gallery 113: 105: 93: 76: 63:19 August 1689 (baptised) 52: 37: 30: 1903:. Frankfurt: Peter Lang. 1865:Harris, Jocelyn (1987). 1793:and Samuel Richardson." 1160: 1007:An Address to the Public 915: 793:Archbishop of Canterbury 778: 670:Antoine François PrĂ©vost 89:, now in London, England 1840:Dobson, Austin (2003). 1752:Encyclopedia Britannica 1148:6 Letters upon Duelling 2225:English male novelists 2061:Quotations related to 1899:Krake, Astrid (2000). 1687:He could go no farther 1186:10.1093/ref:odnb/23582 1125:6 Editions (1741–1755) 841: 788: 749: 739: 722: 652: 604: 586: 576: 484: 474: 457:first novel in English 416: 373: 309: 281: 261: 244: 206: 2190:People from Mackworth 1015:Sir Charles Grandison 1013:2 Letters Concerning 836: 786: 744: 734: 713: 688:to mock Richardson's 647: 599: 581: 571: 479: 465: 403:Sir Charles Grandison 399: 382:Journals of the House 359: 299: 276: 249: 239: 201: 2149:UK National Archives 2053:at Wikimedia Commons 1710:How art produces art 1636:Letter to Richardson 1123:The Familiar Letters 1104:Verses Addressed to 1053:The Negotiations of 884:In his first novel, 876:quickly adopted the 711:, Richardson wrote: 168:, the physician and 1135:No. 97, The Rambler 541:Pamela in High Life 524:under the title of 237:wrote years later: 845:St. Bride's Church 789: 787:Bust of Richardson 740: 653: 636:By 1748 his novel 597:in November 1747: 587: 545:The Life of Pamela 528:Familiar Letters; 485: 417: 374: 219:Monmouth Rebellion 2185:English Anglicans 2161:Samuel Richardson 2123:Samuel Richardson 2094:Project Gutenberg 2075:Samuel Richardson 2073:Works related to 2063:Samuel Richardson 2051:Samuel Richardson 2049:Media related to 1989:978-0-8204-5917-2 1985:978-3-906769-80-6 1867:Samuel Richardson 1842:Samuel Richardson 1548:"British Library" 1192:(Subscription or 231:Christ's Hospital 132:epistolary novels 124:Samuel Richardson 121: 120: 44:1750 portrait by 32:Samuel Richardson 2232: 2180:English printers 2157: 2152: 2119: 2118: 2103:Internet Archive 2072: 2060: 2048: 2039: 2034: 2033: 2025: 2023:Biography portal 2020: 2019: 2018: 2011: 2006: 2005: 2004: 1976: 1966: 1933: 1931: 1920: 1904: 1895: 1884: 1861: 1845: 1816: 1814: 1807: 1801: 1787: 1778: 1777: 1769: 1763: 1762: 1760: 1758: 1744: 1738: 1731: 1725: 1719: 1713: 1706: 1700: 1697: 1691: 1689: 1682: 1676: 1674: 1667: 1658: 1656: 1649: 1640: 1638: 1631: 1625: 1615: 1606: 1604: 1597: 1552: 1551: 1544: 1538: 1536: 1529: 1476: 1474: 1467: 1461: 1460: 1440: 1247: 1241: 1235: 1229: 1223: 1222: 1220: 1218: 1204: 1198: 1197: 1189: 1171: 1142:Posthumous works 1075:The Life of Sir 878:epistolary novel 871:Epistolary novel 650:Mason Chamberlin 378:House of Commons 313: 265: 130:known for three 83: 62: 60: 42: 28: 27: 2240: 2239: 2235: 2234: 2233: 2231: 2230: 2229: 2170: 2169: 2143: 2116: 2085:Standard Ebooks 2035: 2028: 2021: 2016: 2014: 2007: 2002: 2000: 1997: 1881: 1825: 1820: 1819: 1808: 1804: 1788: 1781: 1770: 1766: 1756: 1754: 1746: 1745: 1741: 1733:Thomas Turner: 1732: 1728: 1720: 1716: 1707: 1703: 1698: 1694: 1683: 1679: 1668: 1661: 1650: 1643: 1632: 1628: 1616: 1609: 1598: 1555: 1546: 1545: 1541: 1530: 1479: 1468: 1464: 1441: 1250: 1242: 1238: 1230: 1226: 1216: 1214: 1206: 1205: 1201: 1191: 1172: 1168: 1163: 1144: 1087: 1067:(4 Volumes) by 1062:A Tour through 1041: 992:Meditations on 979: 923: 918: 873: 781: 702:Clarissa Harlow 662:present Edition 618:and her friend 559: 514:The Anti-Pamela 459:" or the first 426:Daily Gazetteer 394: 362:Joseph Highmore 331:The True Briton 315: 311: 293: 267: 263: 227: 193: 85: 81: 64: 58: 56: 48: 46:Joseph Highmore 33: 24: 17: 12: 11: 5: 2238: 2228: 2227: 2222: 2217: 2212: 2207: 2202: 2197: 2192: 2187: 2182: 2168: 2167: 2158: 2141: 2129: 2120: 2105: 2096: 2087: 2078: 2066: 2054: 2041: 2040: 2026: 2012: 2009:England portal 1996: 1995:External links 1993: 1992: 1991: 1977: 1949:(6): 352–355. 1934: 1921: 1912: 1907:Rizzo, Betty. 1905: 1896: 1885: 1879: 1862: 1853: 1848:Flynn, Carol, 1846: 1837: 1824: 1821: 1818: 1817: 1802: 1779: 1772:Keith Maslen. 1764: 1739: 1726: 1714: 1701: 1692: 1677: 1659: 1641: 1626: 1607: 1553: 1539: 1477: 1472:London Journal 1462: 1248: 1236: 1224: 1199: 1165: 1164: 1162: 1159: 1158: 1157: 1151: 1143: 1140: 1139: 1138: 1132: 1126: 1120: 1114: 1110:William Bowyer 1101: 1094: 1086: 1083: 1082: 1081: 1072: 1059: 1050: 1046:Aesop's Fables 1040: 1037: 1036: 1035: 1025: 1019: 1010: 1004: 998: 989: 978: 975: 974: 973: 967: 959: 958: 957: 940: 932: 922: 919: 917: 914: 872: 869: 805:Samuel Johnson 780: 777: 735:Title page of 718:future rewards 686:Joseph Andrews 631:Night Thoughts 616:Sarah Fielding 582:Title page of 558: 555: 504:Joseph Andrews 480:Title page of 393: 390: 298: 292: 289: 248: 226: 223: 192: 189: 185:Henry Fielding 166:Sarah Fielding 162:Samuel Johnson 119: 118: 115: 111: 110: 107: 103: 102: 95: 91: 90: 84:(aged 71) 78: 74: 73: 54: 50: 49: 43: 35: 34: 31: 15: 9: 6: 4: 3: 2: 2237: 2226: 2223: 2221: 2218: 2216: 2213: 2211: 2208: 2206: 2203: 2201: 2198: 2196: 2193: 2191: 2188: 2186: 2183: 2181: 2178: 2177: 2175: 2166: 2162: 2159: 2156: 2150: 2146: 2142: 2140: 2137: 2135: 2130: 2128: 2124: 2121: 2113: 2109: 2106: 2104: 2100: 2097: 2095: 2091: 2088: 2086: 2082: 2079: 2077:at Wikisource 2076: 2071: 2067: 2064: 2059: 2055: 2052: 2047: 2043: 2042: 2038: 2037:Novels portal 2032: 2027: 2024: 2013: 2010: 1999: 1990: 1986: 1982: 1978: 1974: 1970: 1965: 1960: 1956: 1952: 1948: 1944: 1940: 1935: 1930: 1929: 1922: 1918: 1913: 1910: 1906: 1902: 1897: 1894:. 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Index

Samuel Richardson (disambiguation)
1750 portrait by Joseph Highmore
Joseph Highmore
Mackworth
Derbyshire
Parsons Green
printer
printer
epistolary novels
Pamela; or, Virtue Rewarded
Clarissa: Or the History of a Young Lady
The History of Sir Charles Grandison
Andrew Millar
first novel
Samuel Johnson
Sarah Fielding
Behmenist
George Cheyne
William Law
John Byrom
Henry Fielding
Mackworth
James Scott, 1st Duke of Monmouth
Monmouth Rebellion
Christ's Hospital
Leigh Hunt
Philip Wharton, 1st Duke of Wharton
Arthur Onslow
Speaker of the House of Commons

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