Novel - in modern literary usage, a sustained work of prose fiction a volume or more in length. It is distinguished from the
short story and the fictional sketch, which are necessarily brief. Although the novel has a place in the literatures of all nations, this article concentrates on the evolution of the novel in England, France, Russia and the former Soviet Union, and the United States. Nonetheless, changes in technology in the 20th cent. have made the literature of different cultures widely available. The international readership claimed by such authors as Africa's Chinua Achebe, India's R. K. Narayan, Japan's Yukio Mishima, and Latin America's Jorge Luis Borges indicates the variety of novels available to an ever-widening audience. See also
mystery;
science fiction. Forerunners of the Novel The term novel is derived from novella, Italian for a compact, realistic, often ribald prose tale popular in the Renaissance and best exemplified by the stories in Giovanni Boccaccio's Decameron (1348–53). The novel can, therefore, be considered a work of imagination that is grounded in reality. On the other hand, during the Middle Ages a popular literary form was the romance, a type of tale that describes the adventures, both natural and supernatural, of such figures of legend as the Trojan heroes, Alexander the Great, and King Arthur and his knights. Thus, the modern novel is rooted in two traditions, the mimetic and the fantastic, or the realistic and the romantic. Indeed, the conflict between romantic dreams and harsh reality has been the theme of many great novels and the historical development of the novel continually reflects this dual tradition. Among the genre's precursors Petronius's Satyricon (1st cent. a.d.) presents a vivid portrait of life in Nero's Rome while satirizing the corruption there, whereas the Metamorphoses (2d cent. a.d.) of Lucius Apuleius describes the fantastic adventures of a young man who is transformed into an ass; Daphnis and Chloë (3d cent. a.d.), attributed to Longus, is a love story about a goatherd and a shepherdess, while the Thousand and One Nights (10th–11th cent.) is a collection of stories that often tell of magic or supernatural happenings; and Tale of Genji (11th cent.), by Lady Murasaki, depicts Japanese court life, whereas Amadis of Gaul (13th or 14th cent.) recounts the fabulous exploits of a knight who is a model of chivalry. Early European Novels The realistic and romantic tendencies converge in Cervantes's Don Quixote de la Mancha (1605, 1615), which describes the adventures of an aging country gentleman who, inspired by chivalric romances, sets out to do good in an ugly world. A brilliant, humanistic study of illusion and reality, Don Quixote is considered by many critics to be the most important single progenitor of the novel. Of lesser magnitude but lasting influence is The Princess of Cleves (1678), by Mme de La Fayette; a forerunner of the psychological novel, it presents believable characters in conflict and criticizes shifting social and moral values. Also important is Alain René Le Sage's Gil Blas (1715–35), a picaresque [Span. picaro=rogue, knave] tale of a young man who passes rapidly from one job to another, commenting as he goes on the idiosyncrasies of his masters and on the world at large. This story, episodic and held together by a single character, became the model for a generation of English writers who first produced what has come to be recognized as the modern novel. Several 18th-century novels, each essentially realistic, has at one time or another been designated the first novel in English. Daniel Defoe is famous for Robinson Crusoe (1719), a detailed and convincingly realistic account, based on a real event, of the successful efforts of an island castaway to survive. Also in this realistic tradition is Defoe's novel Moll Flanders (1722), which relates the picaresque adventures of a good-natured harlot and thief. Samuel Richardson extended the influence of the form over its middle-class audience with his epistolary novels: Pamela (1740), about the rewards of virtue, and Clarissa (1747–48), about the evils of a fall from virtue. Meant to offer instruction in letter writing as well as in moral conduct, these works emphasize character rather than action. Both of these elements are present in Henry Fielding's Tom Jones (1749). This novel was the first to present a full portrait of ordinary English life, including a none-too-perfect but likable hero. In addition, the work includes critical comments by the author on the nature of the novel. Against the mainstream represented by the foregoing novels, with their emphasis on external reality, stands Laurence Sterne's Tristram Shandy (1760–67), a rambling nine-volume novel replete with blank pages, digressions, chapters in reverse order, and unconventional punctuation. All of of these literary features combine to reveal an internal, psychological reality based on John Locke's theory of the association of ideas. The psychological reality explored by Sterne would resurface as a fictional preoccupation early in the 20th cent. The Nineteenth Century The novel became the dominant form of Western literature in the 19th cent., which produced many works that are considered milestones in the development of the form. The English Novel In Britain, Sir Walter Scott's Waverley (1814), about the 1745 Jacobite uprising in support of Charles Edward Stuart, inaugurated the historical novel. Jane Austen's Pride and Prejudice (1813) and Emma (1816), contemplating and satirizing life among a small group of country gentry in Regency England, initiated the highly structured and polished novel of manners. A variant with a wider scope is William Makepeace Thackeray's Vanity Fair (1847–48), which dissects and satirizes London society. The serialization of novels in various periodicals brought the form an ever-expanding audience. Particularly popular were the works of Charles Dickens, including Oliver Twist (1839) and David Copperfield (1850). Readers were drawn by Dickens's sympathetic, melodramatic, and humorous delineation of a world peopled with characters of all social classes, and by his condemnation of various social abuses. Further portraits of English society appear in Anthony Trollope's Barsetshire novels, which scrutinize clerical life in a small, rural town, and George Eliot's Silas Marner (1861) and Middlemarch (1871–72), which treat the lives of ordinary people in provincial towns with humanity and a strong moral sense. George Meredith's Ordeal of Richard Feverel (1859) and The Egoist (1879) are analytical tragicomedies set in high social circles. The conflict between man and nature is stressed in Thomas Hardy's Return of the Native (1878) and Tess of the D'Urbervilles (1891). Although the great English novels of the 19th cent. were predominantly realistic, novels of fantasy and romance formed a literary undercurrent. Early in the century Mary Shelley's Frankenstein (1818) explores a tale of horror. Later, Charlotte Brontë's Jane Eyre (1847) and Emily Brontë's Wuthering Heights (1847) each present imaginative, passionate visions of human love. Robert Louis Stevenson revived the adventure tale and the horror story in Treasure Island (1883) and The Strange Case of Dr. Jekyll and Mr. Hyde (1886). At the beginning of the 20th cent., horror and adventure were combined in the novels of Joseph Conrad, notably Lord Jim (1900) and Heart of Darkness (1902), both works achieving high levels of stylistic and psychological sophistication. The French and Russian Novels Major 19th-century French writers also produced novels in the romantic and realistic traditions. Romance can be found in Alexandre Dumas's Three Musketeers (1844) and Victor Hugo's Les Misérables (1844), both of which are melodramatic and swashbuckling, terrifying and poignant. Honoré de Balzac's Human Comedy (1829–47), on the other hand, is a series of novels that offer a realistic, if cynical, panorama of life in Paris and the provinces. Stendhal mixes realism with romance in The Red and the Black (1831) and The Charterhouse of Parma (1839). Both works are psychological studies in which characters confront reality by behaving melodramatically. Gustave Flaubert's Madame Bovary (1857) is perhaps the first novel in which the author was primarily concerned about his work as a literary form and consciously distances himself from his characters. The result is a carefully crafted study of a banal love tragedy in which the heroine, like Don Quixote, cannot reconcile her romantic dreams with ordinary reality. In the 19th cent. Russian novelists quickly gained world reputations for their powerful statements of human and cosmic problems. If Leo Tolstoy's War and Peace (1865–69) is a God-centered novel, Feodor Dostoyevsky's Crime and Punishment (1866) can be considered a God-haunted one. The American Novel American novels in the 19th cent. were explicitly referred to as romances. James Fenimore Cooper's historical novel The Last of the Mohicans (1826), Nathaniel Hawthorne's Scarlet Letter (1850), and Herman Melville's Moby-Dick (1851)—the latter two heavily allegorical and containing supernatural elements—properly belong in this category. In the last decades of the century, however, a shift toward realism occurred. Mark Twain's Adventures of Huckleberry Finn (1883), a revival of the picaresque novel, is romantic in its Mississippi River setting but realistic in its satirical attack on religious hypocrisy and racial persecution. By the end of the century Henry James had brought his moral vision and powers of psychological observation to the novel in numerous works, including The Portrait of a Lady (1881), The Spoils of Poynton (1897), and The Ambassadors (1903). These novels are not only masterpieces of realism but also—in their carefully crafted | 
