Book contents
- Frontmatter
- INTRODUCTION: CRITICISM AND TRADITION
- GENRES
- 3 Poetry, 1660-1740
- 4 Poetry, after 1740
- 5 Drama, 1660-1740
- 6 Drama, after 1740
- 7 Prose fiction: France
- 8 Prose fiction: Great Britain
- 9 Prose fiction: Germany and the Netherlands
- 10 Historiography
- 11 Biography and autobiography
- 12 Criticism and the rise of periodical literature
- LANGUAGE AND STYLE
- THEMES AND MOVEMENTS
- LITERATURE AND OTHER DISCIPLINES
- Bibliography
- Index
- References
7 - Prose fiction: France
from GENRES
Published online by Cambridge University Press: 28 March 2008
- Frontmatter
- INTRODUCTION: CRITICISM AND TRADITION
- GENRES
- 3 Poetry, 1660-1740
- 4 Poetry, after 1740
- 5 Drama, 1660-1740
- 6 Drama, after 1740
- 7 Prose fiction: France
- 8 Prose fiction: Great Britain
- 9 Prose fiction: Germany and the Netherlands
- 10 Historiography
- 11 Biography and autobiography
- 12 Criticism and the rise of periodical literature
- LANGUAGE AND STYLE
- THEMES AND MOVEMENTS
- LITERATURE AND OTHER DISCIPLINES
- Bibliography
- Index
- References
Summary
The debate in the classical era: roman and nouvelle
Introduction
Fictional prose narratives of several types were popular in France throughout the Middle Ages and Renaissance. Some have always been called rotnans, the standard word for the English term ‘novel’. The history of the French novel therefore begins in the early medieval period; in the seventeenth and eighteenth centuries the genre achieved new prominence and stature. A serious critical discourse on the novel existed in France well before 1670. Romans - especially those of d'Urfé, Gomberville, La Calprenède, Georges and Madeleine de Scudéry - were discussed in the salons, in authors' prefaces, and even in writings by scholars and academicians like Chapelain, Ménage, Segrais, Boileau, Furetière, and Huet.
A different but equally significant concern for the theory and practice of fiction appears in French imitations of Cervantes's Don Quixote (translated in 1614) by writers such as Charles Sorel and Paul Scarron. Spain also introduced France to the novela, a shorter and less exotic genre than the heroic rotnans. Early translations and imitations emphasized the verisimilitude of the new form; Segrais's Nouvelles françoises (1656) stated succinctly a key problem for theorists of the novel: ‘the difference between the Roman and the Nouvelle [is] that the Roman writes things as propriety wishes them and in the manner of a poet; but the Nouvelle must take a bit more from History, and try rather to give the images of things as we ordinarily see them happen, than as our imagination figures them’ (I, p. 146).
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- Information
- The Cambridge History of Literary Criticism , pp. 210 - 237Publisher: Cambridge University PressPrint publication year: 1997
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