... and famously derided. Then, responding to the long critical history surrounding the representation of experience in the novel, I argue that experience, for Fielding, is not constitutive of but superfluous to character identity. By choosing to marry Tom, Sophia rejects the experiential model of prudence, which...

... is, as "the universal Opinion of all Mr. Allworfhy's Family" would have it, a man "certainly born to be hanged" (3.2.118),1° we find that Tom was, after all, a man born tobe married and socially promoted to boot. The last page informs us that in the case of Tom and Sophia, "as there are not to be found...

... of these links are more persuasively argued than others. To claim the narrator of Tom Jones as a courtesan figure struck me at first as surprising if not far-fetched. Yet Con- way presents an elegant reading of the narrator’s aesthetic theory, as articulated when he introduces the character of Sophia...

... Spirits” (1: 252) acquires maturity and an estate once he has been transformed by philosophy—that is, by the love of Sophia. Like the extravagant imaginations of the ancient authors of romance and epic, Jones’s exuberance expresses itself in a fetishistic weakness for spectacles that delight...

... York in 1738-41. Haywood discredits the coquette in Betsy Thoughtless (1751);Lennox follows suit-not so much in The Female Quzxote (1752) where the ending is still ambiguous as most critics agree, but in Sophia (1762). Here another Harriot, the virtuous Sophia's coquettish sister...

.... Such is the escalation from closet to domed apotheosis in the computer-generated bulk and scope, girth and sweep, of the RL's final showpiece, its virtualized Hagia Sophia, Seattle rather than Istanbul. Such is the novel's final spin back from Taimur's obsessive rhythmic text, conjuring in its own right a vicarious...

... in her short lifetime” (53), it is with relative dispatch that Fielding's Sophia Western discovers Tom Jones's virtue. Where Richardson injects a little doubt into the actual reformation of a rake like Belford, Fielding's Augustan approach ultimately renders irrelevant the rakish problem of whether...

..., excess is always absorbed and want recu­ perated in the symmetry of exchange. Addison’s tears are a remainder, a leftover that can­ not be exchanged for anything” (139, 140). Like Sophia Western’s muff in Henry Fielding’s Tom Jones (1749), tears and other objects of literary interest (fans, letters...

... is not surprising that forms the delight and frames the lesson—in contrast, say, to the deliberately unbelievable description of the idealized Sophia (135). This, perhaps, is what she intends when she points out (astutely) that “Fielding defines the marvelous not as an aberration from the real but as the true real...

.... In necessarily emphasizing Fielding’s male protagonists, Macpherson perhaps downplays his female characters—the self-willed Sophia Western and the very interestingly pocked and sunburned Fanny Goodwill—who complicate Fielding’s comic rhetoric of exoneration. And Fielding’s own work as a magistrate, already...

... in such scenes of other beatings, such as that in The Color Purple where Celie suggests to Harpo what he should do regarding Sophia's refusal to act like a "good" woman: "Beat her." In short, Nickerson's and Walton/Jonesfsstudies rightly emphasize the regular and real pleasures to be found...

... both in their own times and ours, as even the shortest list of titles will testify: Charlotte Smith's Romance of Real Life (1787), Mary Wollstonecraft's Original Sforiesfrom Real Life (1788), Sophia Fortnum's Cordelia, Or a Romance of Real Life (1799), Amelia Opie's Tales of Recrl Life...

... the “archeological writings of the Sanhe- drim,” including documents from the “trial of Jesus,” which he claimed a German colleague had discovered in Istanbul at the former Church of Saint Sophia (then still a mosque). These trial notes, known as the Archko Volume (Mahan et al con- tained a firsthand...

... explains why it is that Gustav and his adult daughter have not spo- ken to each other for many years: [Wlhen she was eleven, a rcertain sad little event occurred In those days Sophia had this little white hamster. She called it Ulrich, she became greatly fond of it Then one day...

... entertaining, provide little insight into proper conduct. Burney's ethics of accident offers a neat reversal of the logic of character responsibility. Whereas Tom Jones responds to the “dreadful accident” (172) of Sophia's losing control of her horse by “lead[ing] her” with one arm while his other, broken...

... in 1845. The reviewer tells us, "as all the world knows," that Scott was "the in- ventor of the historical romance" (345), a claim surely troubled by the convenient. forgetting of Sophia Lee and Jane Porter. Scott's "graphic sketches" and "genuine passion" are compared with the "mawkish sensibility...

... Subject for an Epic Poem.. .. (26-27) The two most prominent examples of British gothic novels with an English setting, Clara Reeve's Tl~eOld English Bnron: A Gotlzic Story (1777) and Sophia Lee's The Recess, or, A Tnle of Other Titiles (1783) substituted, as their titles...

...: Clara (Wielnnd), Sophia Westwyn Courtland (Ormond), Edgar (Edgnr Huntly), Carwin (Merrzoirs), and Dr. Stevens (Arthur Mmvyn). AMANDA EMERSON I FICTITIOUS HISTORIOGRAPHY struggle with British authorities and conflict with (diverse groups of) native peo- ples to cite...