By R. Carnell
Narrative realism has lengthy been understood as a whole account of "real existence" and the person self. Breaking with this conventional background, Partisan Politics, Narrative Realism, and the increase of the British Novel demonstrates that the formal conventions of narrative realism emerged on the finish of the 17th century according to an explosion of partisan writings that provided rival types of political selfhood. the unconventional mediated among the competing Whig, Tory, and Jacobite models of selfhood that emerged in the course of the upheavals of the 1680s and flourished in the course of the mid 1750s. the increase of the unconventional was once attached to the increase of "the individual," as conventional bills proposed, yet this Whig person used to be only one of numerous partisan models of the self that have been vying for pre-eminence in this interval.
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Extra resources for Partisan Politics, Narrative Realism, and the Rise of the British Novel
By contrast with the shorter Brief Account, which introduces an entirely gratuitous account of incest between Jenny and her brother, Arbuthnot’s novelistic Memoir accords Jenny a certain amount of respect—suggesting that she was never mistress to Charles Edward Stuart but rather a loyal adviser who had done her best to achieve harmony between squabbling rebel factions. Arbuthnot’s text never 42 THE RISE OF THE BRITISH NOVEL deviates from its anti-Jacobite principles, but insists that Jenny was mistaken in preferring “Popish Bigotry and French Tyranny” over “English Liberty, and the Constitution” (273).
This text rehearses the histories of Deborah, Judith, Esther, Susanna, Lucretia, and Marianne, exemplary women from classical and Old Testament sources; it also includes accounts of Queen Boadicea of Britain, Queen Clotilda of France, and Princess Andegona of Spain. ”37 The themes of the chosen tales, however, highlight not only women’s courage generally, but also women’s particular courage in response to political oppression. Deborah, Judith, and Esther are described as having risked their lives for the sake of the Israelites; Boadicea risks hers for the sake of the British under Nero’s rule; Clotilda helps convert her husband Clovis to Christianity.
Who passes for a Wit” (viii). Arbuthnot claims to have left his sister’s interruption in his preface “in order to shew the World how weakly she [his sister] has managed her Defence” (ix). However, because of the narrative frame that includes her voice, his sister is able to make her case against men “who pretend to an unlimited Sovereignty” (ix–x) over women.