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| Sonny Corleone |
Sonny CorleoneSantino 'Sonny' Corleone is a fictional character, the oldest son of fictional New York Mafia 'Don' Vito Corleone in Mario Puzo's novel The Godfather and its 1972 movie adaptation. His brothers are Michael Corleone and Fredo Corleone. Sonny is played by James Caan in the movie.
Born in 1916, Sonny was the most impulsive and violent of Vito's three sons, and, before Michael's rise to power, the most involved in the Corleone crime Family. Vito always blamed himself for this, as the boy saw his father murder a rival at the age of 11. Sonny was not without a softer side, however; the same year, he took in a homeless boy, Tom Hagen, to live with the family. He also acted as a protector to his younger siblings, especially his sister Connie.
The normal course of events in Sonny's life were upturned when Virgil 'The Turk' Sollozzo came to Don Vito with an offer of entering the drug business. He was backed by the Tattaglia family. The Don did not want to enter the drug business as he believed that it would spoil the youth. But Sonny showed interest in the deal. This led Sollozzo to believe that if the Godfather could be taken out of the way, Sonny might agree to work with him. An assasination attempt on the Godfather was arranged.
The assassination attempt failed but left the Godfather near death, although he eventually recovered. Sonny prepared for an all-out war against the Tattaglias and Sollozzo. Michael, showing for the first time his ability to lead a crime enterprise, developed a plan to kill Sollozzo and his bodyguard, police Captain McClusky, that he would carry out. Michael succeeded and was sent immediately to Sicily to wait out the inevitable crackdown on the Five Families. Bruno Tattaglia, Don Philip Tattaglia's son was also killed in his nightclub.
In retaliation for the killing of a rival boss Philip Tattaglia's son, Tattaglia's partner and the Don of one the most powerful of the Five Families, Emilio Barzini, enlisted the help of Sonny's brother-in-law, Carlo Rizzi, in setting a trap for the impulsive Don. In 1948, after Rizzi inflicted a particularly vicious beating on Sonny's sister Connie. Connie telephoned Sonny, who in a fit of anger left the family compound unaccompanied and headed for Connie's apartment with the intention of bashing (and perhaps killing) Carlo. However, Carlo knew the beating would prompt Sonny to come after him, and so telephoned Tattaglia to inform him that Sonny was on his way. The trap was set. As Sonny approached a toll plaza, a number of Tattaglia's men emerged from the toll booths and the car in front of Sonny's with submachine guns and viciously gunned him down. His death persuaded Vito to call a truce with the other Families.
Sonny, though married, was a womanizer, famous for his alliance with Lucy Mancini, who was Connie's friend. He fathered a child out of wedlock with her. That child, Vincent 'Vinnie' Mancini-Corleone, grows up to succeed Michael as Godfather.
Family
- Vito Corleone — Father; played by Marlon Brando
- Constanzia 'Connie' Corleone-Rizzi — Sister; played by Talia Shire
- Fredo Corleone — Younger brother; played by John Cazale
- Michael Corleone — Youngest brother; played by Al Pacino
- Mary Corleone — Niece; played by Sofia Coppola
- Mama Corleone
- Vincent 'Vinnie' Mancini-Corleone — Son; played by Andy Garcia.
References
- [http://imdb.com/title/tt0068646/plotsummary Plot Summary - The Godfather]
Corleone, Santino 'Sonny'
Fictional characterA fictional character is any person who appears in a work of fiction. More accurately, a fictional character is the person or conscious entity we imagine to exist within the world of such a work. In addition to people, characters can be aliens, animals, gods or, occasionally, inanimate objects. Characters are almost always at the center of fictional texts, especially novels and plays. It is, in fact, hard to imagine a novel or play without characters, though such texts have been attempted (James Joyce's Finnegans Wake is one of the most famous examples). In poetry, there is almost always some sort of person present, but often only in the form of a narrator or an imagined listener.
In various forms of theatre, performance arts and cinema (except for animation and CGI movies), fictional characters are performed by actors, dancers and singers. In animations and puppetry, they are voiced by voice actors, though there have been several examples, particularly, in machinima, where characters are voiced by computer generated voices.
The process of setting up characters for a work of fiction is called characterization.
Names of characters
The names of fictional characters are often quite important. The conventions of naming have changed over time. In many Restoration comedies, for example, characters are given emblematic names that sound nothing like real life names: "Sir Fidget", "Mr. Pinchwife" and "Mrs. Squeamish" are some typical examples (all from The Country Wife by William Wycherley).
Some 18th and 19th century texts, on the other hand, represent characters' names by the use of a single letter and a long dash (this convention is also used for other proper nouns, such as place names). This has the effect of suggesting that the author had a real person in mind but omitted the full name for propriety's sake.
Les Misérables by Victor Hugo uses this technique.
One reason for this dash is that, in Britain and in other countries with a feudal heritage, the names of counties and places might be the names of the feudal lords over those places. One cannot arbitrarily give someone the name "Earl of Manchester" because someone may either have or be elevated to such a title, so it may be grounds for a lawsuit. Hence fictitious names are based on disparaged historical characters, or tend to be re-used. For example, "Lady de Winter" is a character in Dumas pères Three Musketeers, and the family name was used in Du Maurier's Rebecca. (The same holds true for the names of houses: in the latter book, "Windermere" is named after a lake, not a feudal holding).
The 19th century movements of sentimentalism, realism and naturalism all encouraged readers to imagine characters as real people by giving them realistic names, names that were often the titles of books, such as Charlotte Brontë's Jane Eyre or Charles Dickens' David Copperfield. These conventions were followed by the majority of subsequent literature, including most contemporary literature.
However, there are few characters with names that are completely arbitrary. At the very least, names tend to indicate nationality and status. Often, the literal meaning or origin of a name is of some symbolic importance.
Some ways of reading characters
Readers vary enormously in how they understand fictional characters. The most extreme ways of reading fictional characters would be to think of them exactly as real people or to think of them as purely artistic creations that have everything to do with craft and nothing to do with real life. Most styles of reading fall somewhere in between.
Here are some typical ways of reading fictional characters in literary criticism:
Character as symbol
In some readings, certain characters are understood to represent a given quality or abstraction. Rather than simply being people, these characters stand for something larger. Many characters in Western literature have been read as Christ symbols, for example. Other characters have been read as symbolizing capitalist greed (as in F. Scott Fitzgerald's The Great Gatsby), the futility of fulfilling the American Dream, or quixotic romanticism (Don Quixote).
Character as representative
Another way of reading characters symbolically is to understand each character as a representative of a certain group of people. For example, Bigger Thomas of Native Son by Richard Wright is often seen as representative of young black men in the 1930s, doomed to a life of poverty and exploitation. Dagny Taggart and other characters from Atlas Shrugged by Ayn Rand are seen as representative of American's hard-nosed, hard-working class.
Many practitioners of cultural criticism and feminist criticism focus their analysis of characters on cultural stereotypes. In particular, they consider the ways in which authors rely on and/or work against stereotypes when they create their characters. Such critics, for example, would read Native Son in relation to racist stereotypes of African American men as sexually violent (especially against white women). In reading Bigger Thomas' character, one could ask in what ways Richard Wright relied on these stereotypes to create a violent African-American male character and in what ways he fought against it by making that character the protagonist of the novel rather than an anonymous villain.
Often, readings that focus on stereotypes demand that we focus our attention on seemingly unimportant characters, such as the ubiquitous sambo characters in early cinema. Minor characters, or stock characters, are often the focus of this kind of analysis since they tend to rely more heavily on stereotypes than more central characters.
Characters as historical or biographical references
Sometimes characters obviously represent important historical figures. For example, Nazi-hunter Yakov Liebermann in The Boys from Brazil by Ira Levin is often compared to real life Nazi-hunter Simon Wiesenthal, and corrupted populist politician Willie Stark from All the King's Men by Robert Penn Warren is often compared to Louisiana governor Huey P. Long.
Other times, authors base characters on people from their own personal lives. Glenarvon by Lady Caroline Lamb chronicles her love affair with Lord Byron, who is thinly disguised as the title character. Nicole, a destructive, mentally ill woman in Tender is the Night by F. Scott Fitzgerald, is often seen as a fictionalized version of Fitzgerald's wife Zelda.
Perhaps because so many people enjoy imagining characters as real people, many critics devote their time to seeking out real people on whom literary figures were likely based. Frequently authors base stories on themselves or their loved ones.
Character as words
Some language- or text-oriented critics emphasize that characters are nothing more than certain conventional uses of words on a page: names or even just pronouns repeated throughout a text. They refer to characters as functions of the text. Some critics go so far as to suggest that even authors do not exist outside the texts that construct them.
Character as patient: psychoanalytic readings
Psychoanalytic criticism usually treats characters as real people possessing complex psyches. Psychoanalytic critics approach literary characters as an analyst would treat a patient, searching their dreams, past, and behavior for explanations of their fictional situations.
Alternatively, some psychoanalytic critics read characters as mirrors for the audience's psychological fears and desires. Rather than representing realistic psyches then, fictional characters offer us a way to act out psychological dramas of our own in symbolic and often hyperbolic form. The classic example of this would be Freud's reading of Oedipus (and Hamlet, for that matter) as emblematizing every child's fantasy of murdering his father to possess his mother.
This form of reading persists today in much film criticism. The feminist critic Laura Mulvey is considered a pioneer in the field. Her groundbreaking 1975 article, "Visual Pleasure and Narrative Cinema"[http://www.jahsonic.com/VPNC.html], analyzed the role of the male viewer of conventional narrative cinema as fetishist, using psychoanalysis "as a political weapon, demonstrating the way the unconscious of patriarchal society has structured film form."
Round characters vs. flat characters
Some critics distinguish between "round characters" and "flat characters" or types. The former are made up of many personality traits and tend to be complex and both more life-like and believable, while the latter consist of only a few personality traits and tend to be simple and less believable. The protagonist (main character, sometimes known as the "hero" or the "heroine") of a novel is certain to be a round character; a minor, supporting character in the same novel may be a flat character. Scarlett O'Hara, of Gone with the Wind, is a good example of a round character, whereas her servant Prissy exemplifies the flat character. Likewise, many antagonists (characters in conflict with protagonists, sometimes known as "villains") are round characters. An example of an antagonist who is a round character is Gone with the Wind's Rhett Butler.
A number of stereotypical or "stock" characters have developed throughout the history of drama. Some of these characters include the country bumpkin, the con artist, and the city slicker. Often, these characters are the basis of "flat characters", though elements of stock characters can also be present in round characters as well.
Unusual uses
Postmodern fiction frequently incorporates real characters into fictional and even realistic surroundings. In film, the appearance of a real person as himself inside of a fictional story is a type of cameo. For instance, Woody Allen's Annie Hall has Allen's character call in Marshall McLuhan to resolve a disagreement.
In some experimental fiction, the author acts as a character within his own text. One of the earliest examples of this is Niebla ("Fog") by Miguel de Unamuno (1907), in which the main character visits Unamuno in his office to discuss his fate in the novel. Paul Auster also employs this device in his novel City of Glass (1985), which opens with the main character getting a phone call for Paul Auster. At first the main character explains that the caller has reached a wrong number, but eventually he decides to pretend to be Auster and see where it leads him. In Immortality by Milan Kundera, the author references himself in a storyline seemingly separate from that of his fictional characters, but at the end of the novel, Kundera meets his own characters.
With the rise of the "star" system in Hollywood, many famous actors are so familiar that it can be hard to limit our reading of their character to a single film. In some sense, Bruce Lee is always Bruce Lee, Woody Allen is always Woody Allen, and Harrison Ford is always Harrison Ford; all often portray characters that are very alike, so audiences fuse the star persona with the characters they tend to play, a principle explored in the Arnold Schwarzeneggar vehicle, Last Action Hero.
Some fiction and drama make constant reference to a character who is never seen. This often becomes a sort of joke with the audience. This device is the centrepoint of one of the most unusual and original plays of the 20th century, Samuel Beckett's Waiting for Godot, in which Godot of the title never arrives.
Iconic fictional characters
Some fictional characters are so famous that they can be references easily outside of the work from which they came, often because they have come to symbolize some archetype or ideal.
Lists of fictional characters
General
- List of advertising characters
- List of aliens in fiction
- List of comic and cartoon pairs
- Comic and cartoon characters named after people
- List of notable female fictional characters
- List of dead fictional characters
- List of fictional characters with one eye
- List of fictional clergy and religious figures
- List of mad scientists
- List of mythological pairs
- List of real-life characters
- List of fictional robots and androids
- List of Greek mythological characters
- List of heroic fictional scientists and engineers
- List of unseen characters
- List of video game mascots
- List of fictional witches
- List of fictional television sitcom characters
- List of fictional people known for their names
- List of horror film killers
- Damsel in distress
- Femme fatale
- Butch and femme
- Hero
- Mad scientist
- Villain
Fictional animals
- list of fictional apes (and other non-human primates, excluding Monkeys)
- list of fictional monkeys
- list of fictional bears
- list of fictional birds
- list of fictional cats
- list of fictional dinosaurs
- list of fictional dogs
- list of fictional dragons
- list of fictional elephants
- list of fictional horses
- list of fictional mice and rats
- list of fictional pigs
- list of fictional rabbits
- list of fictional sheep
- List of fictional animals of other species
Lists of fictional characters in specific works or series
- List of X-Men
- List of Digimon
- List of Pokémon
- Characters from Dune
- Characters of The Sandman
- Characters in Atlas Shrugged
- List of DC Comics characters
- List of Dickens characters
- List of Disney characters
- List of Dragon Ball characters
- List of Middle-earth peoples
- List of Middle-earth characters
- Characters from The Lord of the Rings
- List of Characters in Grand Theft Auto Vice City
- List of characters in Beavis and Butt-head
- List of Hercules and Xena characters
- List of Mortal Kombat characters
- List of Archie Comics characters
- List of Characters in The Chronicles of Narnia
- List of characters from Family Guy
- List of characters from The Simpsons
- Fictional characters within The Simpsons
- List of celebrities on The Simpsons
- List of recurring characters from The Simpsons
- One-time characters from The Simpsons
- List of characters from The Sopranos
- List of the Legend of Zelda characters
- List of Hanna-Barbera characters
- Invader Zim characters
- List of Mario series characters
- List of Marvel Comics characters
- List of Nintendo characters
- List of Final Fantasy characters
- List of Characters from Grand Theft Auto: San Andreas
- List of Mega Man characters (original series)
- List of Mega Man characters (X series)
- List of Mega Man characters (Zero series)
- List of Mega Man characters (Legends series)
- List of Mega Man characters (Battle Network series)
- List of Metroid characters
- List of Tekken characters
- List of the Adventures of Tintin characters
- List of Carmen Sandiego characters
- List of characters in translations of Harry Potter
- List of characters in the Harry Potter books
- Characters in the Wheel of Time series
- List of Soul Calibur characters
- List of Star Trek characters
- List of Star Wars characters
- List of Sesame Street characters
- Minor characters from The Hitchhiker's Guide to the Galaxy
- List of characters from Alias
- List of characters in the Oz books
- List of Robert Heinlein characters
- Love Hina main characters
- Love Hina minor characters
Heroes and villains
- List of fictional heroes
- List of anti-heroes
- List of black superheroes
- List of female superheroes
- List of male superheroes
- List of literary works with eponymous heroines
- List of supervillains
See also
- Archive of fictional things
- Fictional realm
- Grand argument
- Mary Sue
- The 100 Greatest Movie Characters of All Time
Category:Fiction
Category:Lists of fictional characters
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ja:架空の人名一覧
Vito Corleone
Vito Corleone [Full name: Don Vito 'The Godfather' Corleone-Andolini] is the fictional head of one of the five New York Mafia families in Mario Puzo's novel The Godfather and its 1972 movie adaptation. He was played by Marlon Brando as an older man in The Godfather and by Robert De Niro as a younger man in The Godfather, Part II. He is depicted as an ambitious Italian immigrant to Little Italy who builds a mafia empire, yet still loves his family. His youngest son, Michael Corleone becomes the Don upon his death. His other sons are Sonny Corleone and Fredo Corleone.
Born Vito Andolini in 1887 in Corleone, Sicily, his family was murdered by the local Don when he was 9 years old (a crime he would avenge years later when he himself was Don) and he fled to New York. He was accidentally listed on Ellis Island as Vito Corleone because he was given a name tag with his hometown and couldn't speak the English necessary to correct the mistake. He later took the name as a point of pride.
He soon learned to survive and prosper through petty crime and performing favors in return for loyalty. He committed his first murder, killing the neighborhood Don, in 1919.
As a young man, he started an olive oil business with his lifelong friend and "consigliere" (advisor) Genco Abbandando, and over the years used it both to amass a fortune and as a legal front for his organized crime syndicate.
While he oversaw a business founded on gambling, bootlegging and murder, he was known as a kind, generous man who lived by a strict moral code of loyalty to friends and, above all, family.
In 1946, a rival tried to have Vito assassinated when he refused to have his underlings sell drugs, sparking a chain of events that resulted in Sonny's murder and Michael's eventual ascension to the head of the family, which he never wanted for his favorite son.
He died of a heart attack in 1954, while playing with his grandson, Anthony.
Vito Corleone's character was clearly based on Frank Costello.
Family
- Carmella Corleone — Wife, played by Morgana King
- Santino 'Sonny' Corleone — Eldest son; played by James Caan
- Tom Hagen — Unofficially-adopted son, played by Robert Duvall
- Fredo Corleone — Middle son; played by John Cazale
- Michael Corleone — Youngest son; played by Al Pacino
- Constanzia 'Connie' Corleone-Rizzi — Daughter; played by Talia Shire
- Vincent 'Vinnie' Mancini-Corleone — Illegitimate grandson; played by Andy Garcia.
- Anthony Corleone — Grandson; played by Franc D'Ambrosio
- Mary Corleone — Granddaughter; played by Sofia Coppola
References
- [http://imdb.com/title/tt0068646/plotsummary Plot Summary - The Godfather]
- [http://www.comune.corleone.pa.it/ Corleone. A small city in Italy]
Corleone, Vito
Mario Puzo
Mario Puzo (October 15, 1920 – July 2, 1999) was an American author known for his fictional books about the Mafia.
Puzo was born into a family of Sicilian immigrants living in the "Hell's Kitchen" neighborhood of New York City. Many of his books draw heavily on this Sicilian heritage. He joined the United States Army Air Force in World War II and was stationed in Asia and Germany. His first book, Dark Arena was published in 1955.
His most famous work, The Godfather, was first published in 1969 after hearing anecdotes of Mafia organizations during his time in pulp journalism.
The Godfather was later developed into a trilogy of popular and highly acclaimed films directed by Francis Ford Coppola released in 1972, 1974 and 1990. In addition to co-writing the screenplay with Coppola, Puzo was also involved with writing the disaster film Earthquake and 1978's Superman: The Movie.
Complete List of Books
Fiction
- The Dark Arena
- The Fortunate Pilgrim
- The Godfather
- Fools Die
- The Sicilian
- The Fourth K
- The Last Don
- Omertà
- The Family
- The Runaway Summer of Davie Shaw (children's book)
Nonfiction
- The Godfather Papers & Other Confessions
- Inside Las Vegas
See also
- List of bestselling novels in the United States
External links
- [http://www.npr.org/rundowns/rundown.php?prgDate=10-Dec-2004&prgId=13 FreshAir Interview] - Audio interview from Fresh Air. Originally broadcast July 25, 1996
- [http://www.imdb.com/name/nm0701374/ Mario Puzo] at the Internet Movie Database
- [http://www.kirjasto.sci.fi/mpuzo.htm Mario Puzo biography]
- [http://www.MarioPuzo.com/ The Official Mario Puzo Library]
Puzo, Mario
Puzo, Mario
Puzo, Mario
Puzo, Mario
Puzo, Mario
Puzo, Mario
Puzo, Mario
Puzo, Mario
Category:US writer stubs
Novel
A novel (from French nouvelle, "new") is an extended fictional narrative in prose. Down into the 18th century, the word referred specifically to short fictions of love and intrigue as opposed to romances—epic-length works about love and adventures. Having become one of the major literary genres over the past 200 years the novel is today the object of discussions demanding artistic merits, a specific literary style and a deeper meaning than a true story of the same content could claim to have.
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Novel/Romance: Unstable Words
One meaning of the English word novel has remained stable: novel can still signify what is new due to its "novelty". When it comes to fiction, though, the meaning of the term has changed over time:
- The period 1200-1750 saw a rise of the novel (originally a short piece of fiction) rivalling the romance (the epic-length performance): this development, which one could describe as the first rise of the novel, occurred across Europe, though only the Spanish and the English went one step further and allowed the word novel (or, in Spanish, novela) to become their regular term for fictional narratives.
- The period 1700-1800 saw the rise of a "new romance" in reaction against the potentially scandalous production of novels. The movement encountered a complex situation in the English market, where the term "new romance" could hardly be ventured, after the novel had done so much to transform taste. The new genre adopted the name novel: this new novel was a work of new epic proportions, with the effect that the English (and Spanish) finally needed a new word for the original short "novel": The term novella was finally created to fill the gap in English. "Short story" brought a further refinement.
The meaning of the term romance changed within the same complex process, becoming the word for a love story whether in life or fiction. Other meanings include the musicologist's genre "Romance" of a short and amiable piece, or Romance languages for the languages derived from Latin (French, Spanish, Italian, Romanian, and so forth).
History
Traditions of Prose Fiction: The Ancient World
As Pierre Daniel Huet noted in 1670, the tradition of epic works went back as far as Virgil and Homer. The regular format was verse, suiting the purpose of tradition in a culture of oral performances. Today, we see this tradition as going back even further, to the epic of Gilgamesh.
It is more difficult to speak of the influence of the shorter performances of regular storytelling on the medieval traditions which led to the development of the novel/novella.
There was a third tradition of prose fictions, both in a satirical mode (with Petronius's Satyricon and the incredible stories of Lucian of Samosata), and a heroic strain (with the romances of Heliodorus and Longus). The ancient Greek romance was revived by Byzantine novelists of the 12th century. All of these traditions were then rediscovered in the 17th and 18th centuries, ultimately influencing the modern book market.
The Romance, 1100-1500
The word romance seems to have become the label of romantic fictions because of the "Romance" language in which early (11th and 12th century) works of this genre were composed. The most fashionable genres developed in southern France in the late 12th century and spread east- and northwards with translations and individual national performances. Subject matter such as Arthurian knighthood had already at that time traveled in the opposite direction, reaching southern France from Britain and French Britanny. As a consequence, it is particularly difficult to determine how much the early "romance" owed to ancient Greek models and how much to such northern folkloric verse epics as Beowulf and the Nibelungenlied.
The standard plot of the early romance was a series of adventures. Following a plot framework as old as Heliodorus, and so durable as to be still alive in Hollywood movies, a hero would undergo a first set of adventures before he met his lady. A separation would follow, with a second set of adventures leading to a final reunion. Variations kept the genre alive. Unexpected and peculiar adventures surprised the audience with romances like Sir Gawain and the Green Knight. Classics of the romance developed such as the Roman de la Rose, written first in French, and famous today in English thanks to the translation by Geoffrey Chaucer.
These original romances were verse works, adopting a "high language" thought suitable to heroic deeds, and to inspire the emulation of virtues; prose was considered "low", more suitable for satire). Verse allowed the culture of oral traditions to live on, yet it became the language of authors who carefully composed their texts—texts to be spread in writing, thus to preserve the careful artistic composition. The subjects were aristocratic. The textual tradition of ornamented and illustrated handwritten books afforded patronage by the aristocracy or by the monied urban class developing in the 13th and 14th centuries, for whom knight errantry most clearly was a world of fiction and fantasy.
The 14th and 15th centuries saw the emergence of first prose romances, a genre rose along with a new book market. This market had developed even before the first printing facilities were introduced: prose authors could speak a new language, a language avoiding the repetition inherent in rhymes. Prose could risk a new rhythm and longer thoughts. Yet it needed the written book to preserve the coincidental formulations the author had chosen. Whilst the printing press was still to come, a commercial book production trade had developed. Legends, lives of saints and mystical visions in prose were the main object of the new market of prose productions. The urban elite, female readers in upper class households and monasteries read religious prose. Prose romances appeared as a new and expensive fashion on this market. They could only truly flourish with the invention of the printing press and with paper becoming a cheaper medium. Both of these achievements arrived in the late 15th century, when the old romance was already facing fierce competition from a number of shorter genres; most salient among these genres was the novel, a form that arose in the course of the 14th century.
The Emergence of the Novel, 1200-1500
Legend
It is difficult to give a full catalog of the genres that finally culminated—with the works of Boccaccio, Geoffrey Chaucer, Niccolò Machiavelli and Miguel de Cervantes—in the "novel" as known today .
The early novel was basically any story told for its spectacular or revealing incidents. The original environment—living on with the typical frame settings—was the entertaining conversation. Stories of grave incidents could just as well augment sermons. Collections of examples facilitated the work of preachers in need of such illustrations. A fable could illustrate a moral conclusion; a short historical reflection could do the same. A competition of genres developed. Tastes and social status were—if one believes the medieval collections—decisive. The working classes loved their own brand of drastic stories: stories of clever cheating, wit and ridicule levelled against hated social groups (or competitors among the story tellers). Much of the original genre is still alive with the short joke told in everyday life to make a certain humorous point in a conversation.
Artistic performances included the story within a story: situations in which a series of stories was allegedly told. They rejoiced in a broad pattern of tastes and genres. The Canterbury Tales constitute a classic example, with their noble storytellers fond of "romantic" stories and their lower narrators preferring stories of everyday life. The genre did not have its own generic term. "Novel" would simply denote the novelty of the accident narrated. The inclusion of frame stories, however, brought an awareness of the fact that genres were developing in this field.
The main advantage of the background story was the justification it put into the hands of the actual authors such as Chaucer and Boccaccio. Romances afforded lofty language and relied on an accepted notion of what deserved to be read as high style. Yet what if the taste in moral teachings and poetry changed? Romances quickly outdated. Stories of cheats and pranks, illicit love affairs, and clever intrigues in which certain respectable professions or the citizens of another town were made fun of were, on the other hand, neither morally nor poetically justifiable. They carried their justification outside. The story teller would offer a few words why he thought this story was worth being told. Again, Chaucer's Canterbury Tales afford the best examples: the real author could tell stories without any other justification than that this story gave a good portrait of the person who told it and of his or her taste—and that justification would remain stable throughout history.
If lofty performances grew tedious—as they did in the 14th and 15th centuries with the old plots never leading to newer ones—the collections of tales or novels made it easy to criticise the lofty performances and to reduce their status: one of the group of narrators (created by the actual author) could start with the romantic story only to be interrupted by the other narrators listening within the story. They might silence him or order him to speak a language they liked, or they might ask him to speed up and to make his point. The result was a rise of the short genre. The steps of this development can be noted with the short story gaining appreciation and the value to rival romances in new versified collections at the end of the 14th century.
The First Rise of the Novel, 1500-1750
The Canterbury Tales
The invention of printing subjected both novels and romances to a first wave of trivialisation and commercialisation. Printed books were expensive, yet something people would buy, just as people still buy expensive things they can barely afford. Alphabetisation, or the rise of literacy, was a slow process when it came to writing skills, but was faster as far as reading skills were concerned. The Protestant Reformation afforded readers of religious pamphlets, newspapers and broadsheets.
The urban population learned to read, but did not aspire to participation in the world of letters. The market of chapbooks developing with the printing press comprised both romances and little histories, tales and fables. Woodcuts were the regular ornament and they were offered without much care. A romance in which the heroic knight had to fight more than ten duels within a few pages could get the same illustration of such a fight again and again if the printers stock of standard illustrations was small. As their stocks grew, printers repeated the same illustrations in other books with similar plots, mixing these illustrations without respect to style. You can open 18th century chapbooks and find illustrations from the early years of printing next to more modern ones.
Romances were reduced to cheap and abrupt plots resembling modern comic books. Neither were the first collections of novels necessarily prestigious projects. They appeared with an enormous variety from folk tales over jests to stories told by Boccaccio and Chaucer, now venerable authors.
comic book
comic book
comic book
A more prestigious market of romances developed in the 16th century, with multi-volume works aiming at an audience which would subscribe to this production. The criticism levelled against romances by Chaucer's pilgrims grew in response both to the trivialisations and to the extended multi-volume "romances". Romances like the Amadis de Gaula led their readers into dream worlds of knighthood and fed them with ideals of a past no one could revitalise, or so the critics complained.
Italian authors like Machiavelli were among those who brought the novel into a new format: while it remained a story of intrigue, ending in a surprising point, the observations were now much finer: how did the protagonists manage their intrigue? How did they keep their secrets, what did they do when others threatened to discover them?
The whole question of novels and romances became critical when Cervantes added his Novelas Exemplares (1613) to the two volumes of his Don Quixote (1605/15). The famous satirical romance was levelled against the Amadis which had made Don Quixote lose his mind. Advocates of the lofty romance would, however, claim that the satirical counterpart of the old heroic romance could hardly teach anything: Don Quixote neither offered a hero to be emulated nor did it satisfy with beautiful speeches; all it could do was to make fun of lofty ideals. The Novelas Exemplares offered an alternative between the heroic and the satiric mode, yet critics were even less sure about what to make of this production. Cervantes told stories of adultery, jealousy and crime. If these stories were to give examples, they gave examples of immoral actions. The advocates of the "novel" responded that their stories taught both with good and with bad examples. The reader could still feel compassion and sympathy with the victims of crimes and intrigues, if evil examples were to be told.
The alternative to dubious novels and satirical romances were better, lofty romances: a production of romances modeled after Heliodorus arrived as a possible answer with excursions into the bucolic world. Honoré d'Urfés L'Astrée (1607-27) became the most famous work of this type. The criticism that these romances had nothing to do with real life was answered through the device of the roman à clef (literally "novel with a key", one that, properly understood, alludes to characters in the real world). John Barclay's Argenis (1625-26) appeared as a political roman à clef. The romances of Madeleine de Scudéry gained greater influence with plots situated in the ancient world and content taken from life. The famous author told stories of her friends in the literary circles of Paris and developed their fates from volume to volume of her serialised production. Readers of taste bought her books, as they offered the finest observation of human motives, characters taken from life, excellent morals regarding how one should and should not behave if one wanted to succeed in public life and in the intimate circles she portrayed.
The novel went its own way: Paul Scarron (himself a hero in the romances of Madeleine de Scudéry) published the first volume of his Roman Comique in 1651 (successive volumes appeared in 1657 and, by another hand, in 1663) with a plea for the development Cervantes had induced in Spain. France should (as he wrote in the famous 21st chapter of his Roman Comique [http://www.pierre-marteau.com/library/e-1700-0002.html#c21]) imitate the Spanish with little stories like those they called "novels". Scarron himself added numerous of such stories to his own work.
Twenty years later Madame de La Fayette made the next decisive steps with her two novels. The first, her Zayde published in 1670 together with Pierre Daniel Huet's famous Treatise on the Origin of Romances, was a "Spanish History". Her second and more important novel appeared in 1678: La Princesse de Clèves proved that France could actually produce novels of a particularly French taste. The Spanish enjoyed stories of proud Spaniards who fought duels to avenge their reputations. The French had a more refined taste with minute observation of human motives and behaviour. The story was firmly a "novel" and not a "romance": a story of unparalleled female virtue, with a heroine who had had the chance to risk an illicit amour and not only withstood the temptation but made herself more unhappy by confessing her feelings to her husband. The gloom her story created was entirely new and sensational.
The regular novel took another turn. The late 17th century saw the emergence of a European market for scandal, with French books appearing now mostly in the Netherlands (where censorship was liberal) to be re-imported clandestinely back into France. The same production reached the neighbouring markets of Germany and Britain, where it was welcomed both for its French style and its predominantly anti-French politics. The novel flourished on this market as the best genre to purport scandalous news. The authors claimed the stories they had to tell were true, told not for the sake of scandal but only for the moral lessons they gave. To prove this, they fictionalized the names of their characters and told these stories as if they were novels. (The audience played its own game in identifying who was who). Journals of little stories appeared—the Mercure Gallant became the most important. Collections of letters added to the market; these included more of these little stories and led to the development of the epistolary novel in the late 17th century.
In the late 1670s the novel reached the English market. Aphra Behn and William Congreve were among the first modern English authors to adopt the term.
State of Affairs: The Market around 1700
Early 18th century novels and romances were still not considered part the world of learning, hence, not of part of literature; they were market goods. If you opened the term catalogues it was mostly situated in the—predominantly political—field of "History and Politicks" with some romances like Cervantes Don Quixote translated into verse becoming poetical. The integration of prose fiction into the market of histories appeared under the following scheme:
image positioning
| |
|
3.1
Heroical Romances:
Fénelon's Telemach (1699) |
|
|
1
Sold as romantic inventions, read as true histories of public affairs:
Manley's New Atalantis (1709) |
2
Sold as romantic inventions, read as true histories of private affairs:
Menantes' Satyrischer Roman (1706) |
3.2
Classics of the novel from the Arabian Nights to M. de La Fayette's Princesse de Cleves (1678) |
4
Sold as true private history, risking to be read as romantic invention:
Defoe's Robinson Crusoe (1719) |
5
Sold as true public history, risking to be read as romantic invention:
La Guerre d'Espagne (1707)
|
| |
|
3.3
Satirical Romances:
Cervantes' Don Quixote (1605) |
From Olaf Simons, Marteaus Europa (Amsterdam, 2001), p.194. |
The centre of the market was held by fictions which claimed to be fictions and which were read as such. They comprised a high production of romances and, at the bottom end, an opposing production of satirical romances. In the centre, the novel had grown, with stories that were neither heroic nor predominantly satirical, yet mostly realistic, short and stimulating with their examples of human actions to be discussed.
The central production had two wings: On the left hand, one had books which claimed to be romances, but which threatened to be anything but fictitious. Delarivier Manley wrote the most famous of them, her New Atalantis, full of stories the author claimed to have invented. The censors were helpless: Manley had hawked stories discrediting the ruling Whigs, yet should they ask the Whigs to prove that all these stories actually happened on British soil rather than on the fairy tale island Atalantis? This was what they had to do if they wanted to sue the author. Delarivier Manley escaped the interrogations unscathed and continued her libellous work with three more volumes of the same ilk. Private stories appeared on the same market, creating a different genre of personal love and public battles over lost reputations.
On the other hand one had a market of titles which claimed to be strictly non-fictional—Daniel Defoe's Robinson Crusoe became the most important of them. The genre-identification: "Sold as true private history, risking to be read as romantic invention" opened the preface:
IF ever the Story of any Man's Adventures in the World were worth making Publick, and were acceptable when Publish'd, the Editor of this Account thinks this will be so.
The Wonders of this Man's Life exceed all that (he thinks) is to be found extant; the Life of one Man being scarce capable of a greater Variety.
The Story is told with Modesty, with Seriousness, and with a religious Application of Events to the Uses to which wise Men always apply them (viz.) to the Instruction of others by this Example, and to justify and honor the Wisdom of Providence in all the Variety of Circumstances, let them happen how they will.
The Editor believes the thing to be a just History of Fact; neither is there any Appearance of Fiction in it: And however thinks, because all such things are dispatch'd, that the Improvement of it, as well as the Diversion, as to the Instruction of the Reader, will be the same; and as such he thinks, without farther Compliment to the World, he does them a great Service in the Publication.
A production of histories of similar verisimilitude dove into the overtly political. Gatien de Courtilz de Sandras (1644-1712) became the most important author in this field with his first version of d'Artagnan's story, told again more than a century later by Alexandre Dumas the elder. Witty, and a distant precursor of Ian Fleming's fictional James Bond, is another book allegedly by his hand: La Guerre d'Espagne (1707) the story of a disillusioned French spy, who gave insight into French politics—and into his own love affairs, with little intrigues he managed wherever he had to do his jobs. Fact and fiction were mixed in all these titles, to the point that one could no longer tell where the author had invented and where he had simply betrayed secrets.
The Second Rise of the Novel or the New Romance, 1700-1800
The early 18th century had—with the novel diving into private and public scandal—reached a state of affairs where a new reform seemed desirable. The old Amadis could be said to have driven its readers into dream worlds, and the new novels, devoid of lofty speeches and incredible acts of heroism, had done much to refine taste. Yet they had created entirely new risks, with stories of love in which children cheated their parents, and with which private and public gossip were published on the open market.
Jane Barker was among the 18th century voices who demanded a return to the old antiquated romance. Her "New Romance" Exilius (1715) opened with the sketch of a new tradition: the romance had, so Jane Barker claimed, developed from Geoffrey Chaucer to François Fénelon; the latter was the author who had just become famous with his epochal romance Telemachus (1699/1700).
Fénelon's English publishers had carefully avoided the term "romance" and rather published a "new epic in prose"—so the prefaces. Jane Barker insisted, however, on publishing her Exilius as "New Romance [...] after the manner of Telemachus", and failed on the market. In 1719 her publisher, Edmund Curll, finally removed the old title pages and offered her works as a collection of novels.
The big market success of the next decade—Daniel Defoe's Robinson Crusoe—appeared that very year and W. Taylor, the publisher, avoided all these traps with a title page claiming neither the realm of novels nor that of romances, but that of histories, yet with a page design tasting all too much of the "new romance" with which Fénelon had just become famous.
histories
Defoe's Robinson Crusoe was everything but a novel, as the term was understood at the time. It was neither short, nor did it focus on an intrigue, nor was it told for the sake of a clear cut point. Nor was Crusoe an anti-hero of a satirical romance, though he spoke the first person singular and had stumbled into all kinds of miseries. He did not really invite laughter (though readers of taste would read, of course, all his proclamations about being a real man as made in good humour). The feigned author was serious: Against his will his life had brought him into this series of most romantic adventures. He had fallen into the hands of pirates and survived years on an uninhabited island. He had survived all this—a mere sailor from York—with exemplary heroism. If readers read his work as a romance, full of sheer invention, he could not blame them. He and his publisher knew that all he had to tell was strictly unbelievable, and yet they would claim it was true (and if not, still readable as good allegory)—the complex game which puts this work into the fourth column of the pattern above.
The Market of Classics and the Reform of the Novel, 1700-1800
allegory
The publication of Robinson Crusoe did not lead into the mid-18th century market reform. Crusoe's books were published as a dubious histories; they played the game of the scandalous early 18th century market, with the novel fully integrated into the realm of histories. They even appeared reprinted by one of the London newspapers as a possibly true relation of facts. Philosophers like Jean-Jacques Rousseau turned Robinson Crusoe into a classic decades later, and it took another century before one could see Defoe's book as the first English "novel"—published, as Ian Watt saw it in 1957, as an answer to the market of French romances.
The reform of the early 18th century market of novels came with the production of classics: 1720 saw the decisive edition of classics of the European novel published in London with titles from Machiavelli to Marie de LaFayette. Aphra Behn's novels had over the last decades appeared in collections of her works. The author of the 1680s had become a classic by now. Fénelon had become a classic years ago, as had Heliodorus. The works of Petronius and Longos appeared, equipped with prefaces which put them into the tradition of prose fiction Huet had defined. Prose fiction itself had, according to the critics, a history of ups and downs: having run into a crisis with the Amadis, it found its remedy with the novel. It now needed continuous care. Yet, all in all, it could claim to be the most elegant part of the belles lettres, the new market segment within the bigger market of literature, embracing the new classics.
Huet's Traitté de l'origine des romans first published in 1670 and now circulating in a number of translations and editions won a central position among those writings which had dealt with prose fiction. The Treatise had created the first corpus of texts to be discussed and it had been the first title that demonstrated how one could "interpret" worldly fictions—just as a theologian would interpret parts of the gospel in a theological debate. The interpretation needed its aims, of course—and Huet had offered a number of questions one could ask: What did the fictional work of a foreign culture or distant period tell us about those who constructed the fiction? What were the cultural needs such stories answered? Are there fundamental anthropological premises which make us create fictional worlds? Did these fictions entertain, divert and instruct? Did they—as one could assume when reading ancient and medieval myths—just provide a substitute for better, more scientific knowledge or did they add to the luxuries of life a particular culture enjoyed? The ancient Mediterranean erotic stories could afford such an interpretation.
The interpretation and analysis of classics placed readers of fictions in an entirely new and improved position: it made a vast difference whether you read a romance and got lost in a dream world or whether you read the same romance with a preface telling you more about the Greeks, Romans or Arabs who produced titles like the Aethopica or The Book of One Thousand and One Nights (first published in Europe from 1704 to 1717 in French and translated immediately from this edition into English and German).
To be Discussed: The Novel turning into Literature, 1740-1800
The Book of One Thousand and One Nights
The early 18th century market for classics of prose fiction inspired living authors. Aphra Behn turned from an anonymous hack into a celebrated author after her death. Fénelon achieved the same fame during his life time. Delarivier Manley, Jane Barker and Eliza Haywood followed their famous French models who had dared to claim fame with their real names: the Madame d'Aulnoy and Anne Marguerite Petit DuNoyer. Most previous novels had been pseudonymous; now they became the productions of famous authors.
The discourse necessary to appreciate such a move towards responsibility was yet underdeveloped. Journals discussing literature focussed on "learning", literature in the strict sense of the word. So far, most discussion of novels and romances had taken place within the field itself. Literary criticism, a critical—external—discourse about poetry and fiction arose in the second half of the 18th century. It opened an interaction between separate participants in which novelists would write in order to be criticised and in which the public would observe the interaction between critics and authors. The new criticism of the late 18th century offered a reform by establishing a market of works worthy to be discussed (whilst the rest of the market would thus continue but lose most of its public appeal). The result was a market division into a low field of popular fictions and a critical literary production. The latter privileged works which rivalled ancient verse epics to be discussed as art, which played with the traditions of prose fiction (they opened an internal discourse about the history of literature), and which were of a clearly defined fictional status—they alone could be discussed as works created by an artist who wanted this and no other story to be discussed by the audience.
The old design of title pages changed: New novels no longer pretended to sell fictions whilst threatening to betray real secrets. Nor did they appear as false "true histories". The new title pages pronounced their works to be fictions, and indicated how the public might discuss them. Samuel Richardson’s Pamela or Virtue Rewarded (1740) was one of the titles which brought the old novel-title with its "[...] or [...]" formula offering an example into the new format: "Pamela or Virtue Rewarded – Now first published in order to cultivate the Principles of Virtue and Religion in the Minds of the Youth of Both Sexes, A Narrative which has the Foundation in Truth and Nature; and at the same time that it agreeably entertains…" So the title page read, and made it clear that the work was crafted by an artist aiming at a certain effect—yet to be discussed by the critical audience. A decade later novels, needed no other status than that of being novels, fiction. Present-day editions of novels simply state "Fiction" on the cover. It had become prestigious to be sold under the label, asking for discussion and thought.
Scandal as the DuNoyer or Delarivier Manley had published it vanished from the market of prose fiction—whether high or low. It could not attract serious critics and it was lost if it remained undiscussed. It ultimately needed its own brand of scandalous journalism—the journalism which developed with the yellow press. The low market of prose fiction went on to focus on immediate satisfaction of an audience enjoying its stay in the fictional world. The high market grew complex, with works playing new games.
On the high market, one could eventually see two traditions developing: one of works playing with the art of fiction—Laurence Sterne’s Tristram Shandy is among them—the other closer to the prevailing discussions and moods of its audience. The great conflict of the 19th century was yet to come, as to whether artists should write to satisfy the public or whether to produce art for art's sake.
Sentimentalism, Psychology, and a New Individual, 1750-1850
The mid- and late 18th century novel of sentimentalism produced an entirely new individual, one with a different attitude towards privacy and the public. Had the early 18th century heroine been bold and ready to protect her reputation if necessary in a press war her mid-18th century descendant was far too modest and shy to do the same. Early 18th century heroines had their secrets, they loved effective intrigues, they tried whatever they felt necessary to get what they wanted. Mid-18th century heroines developed a feeling of modesty. They suffered if they had to keep secrets and felt an urge to confess. They searched for friends and intimacy, for situations in which they could freely open their hearts and speak of their deepest wishes.
The 18th century audience saw these new heroes and heroines with amazement. When it came to their most secret wishes they dared to confide in their parents and friends—a trust which would have made them easy victims in the early 18th century world of fiction, libel, intrigue and scandal. Now, however, these weak heroines met an environment of compassion. Instead of making their affairs a public entertainment, the new heroes and heroines developed an intimacy into which the novel alone could take a careful look.
Special genres flourished with these protagonists who would not wash their dirty linen in the public: Their letters or diaries were found and published only after their death. A wave of sentimentalism was the first result, leading to heroes like Henry Mackenzie's Man of Feeling (1771). A second wave followed with more radical heroes who could no longer dream of an environment understanding them. Johann Wolfgang von Goethe's The Sorrows of Young Werther (1774) was at the forefront of the new movement, and yielded a wave of compassion and understanding with readers ready to follow Werther into his suicide.
Critics embraced the new heroes as the best sign of a new literature which aimed at discussions. The understanding these heroes craved for afforded a secondary discussion—a discussion of the nature of the human psyche so much better observed by these new novels.
The novel had, with these developments, turned advocacy of individual and societal moral reform into a genre. With the romantic movement beginning in the 1770s, the development went one step further: the novel became the medium of an avant garde, the genre where emotions found their test cases. The Bildungsroman developed in Germany—a novel focussing on the development of the individual, his or her education and its way into individuality and society. New sciences—from sociology to psychology—developed with the new individual and influenced the discussions surrounding the novel in the 19th century.
The 19th century and the Novel as the object of great Discussions
At the beginning of the 17th century the novel had been a genre of realism fighting the romance with its wild fantasies. The novel had turned to scandal, then it had been reformed over the last decades of the 18th century. Fiction eventually became the most honourable field of literature. A wave of novels of fantasy culminated this development at the turn of the 18th into the 19th century. Sensibility was heightened in these novels. Women, overwrought and prone to imagining worlds beyond their appointed one, became the heroines of the new world of "romances" and "Gothic novels" creating stories in distant times and places. Renaissance Italy was a favourite of the gothic novel.
The classic Gothic novel is Ann Radcliffe’s The Mysteries of Udolpho (1794). As in other Gothic novels, the notion of the sublime is central. Eighteenth-century aesthetic theory held that the sublime and the beautiful were juxtaposed. The sublime was awful (awe-inspiring) and terrifying while the beautiful was calm and reassuring. The characters and landscapes of the Gothic rest almost entirely within the sublime, with the heroine the great exception. The "beautiful" heroine's susceptibility to supernatural elements, integral to these novels, both celebrates and problematizes what came to be seen as hyper-sensibility.
At the beginning of the 19th century, the overwrought emotions of sensibility, as expressed through the Gothic sublime, had run their course. Jane Austen wrote a Gothic novel parody titled Northanger Abbey (1803), reflecting the death of the Gothic novel. Moreover, while sensibility did not disappear, it was less valued. Austen introduced a different style of writing—the comedy of manners. Her novels often are not only funny, but also scathingly critical of the restrictive, rural culture of the early 19th century. Her best known novel, Pride and Prejudice (1811), is her happiest, and has been a blueprint for much subsequent romantic fiction; her novels are still retain a wide following, despite the distance between their heroines' dilemmas and those of a 21st-century reader.
The market for novels in the 19th century separated into a new "high" and "low" production. The new high production can best be viewed in terms of national traditions. The low production is rather organised by genres in a pattern deriving from the spectrum of 17th- and 18th-century genres:
1. Literature (with a capital L) promoted by critical discourse.
| Spanish Literature |
French Literature |
German Literature |
English Literature |
…by language and nation |
2. Popular Fiction not promoted by criticism
1
The modern roman à clef (a recent example is Primary Colors) |
2
Sex, including soft "romantic" pornography for the female audience |
3
Historical settings (the tradition of heroic romances), crime (the tradition of the 17th century novel) |
4
Adventure, Science fiction |
5
Espionage, Conspiracy |
|
The position of authors attained its modern form with the establishment of this pattern. The modern author can aim at broad market or write with an eye to serious critical discussion. The borders between the realms have developed differently in different nations. While this modern market divide came relatively late to the English-speaking world, Germany and France had an earlier and much stronger interest in creating national literatures—France in the wake of the French Revolution, Germany during its mid-19th-century unification. Both of these nations experienced a division between high literature—discussed in schools and newspapers, and celebrated in public life—and a low production—not worthy to be mentioned in such circles— while the vast commercial market of the English-speaking world still resisted this artificial divide.
Here and there new author identities developed as the novel proved to be a perfect medium for a communication both intimate (novels are read by privately whereas plays are always a public event) and public (novels are published and thus become a matter touching the public if not the nation and its vital interests), a medium of a personal point of view which can get the world into its view. New modes of interaction between authors and the public reflected these developments: authors reading in the public, authors receiving prestigious prizes, authors giving interviews in the media and acting as their nations' conscience. This concept of the novelist as public figure arose in the course of the 19th century.
The 20th Century: From Modernism to Postmodernism
Modernist literature and Postmodern literature
Individual Novels Discussed
From Western antiquity—Greece and Rome—these are the earliest, extant novels:
- Xenophon, The Education of Cyrus (Greek, 4th century BC). A largely fictional account of the education of King Cyrus the Great of Persia. This is considered a precursor to the novel.
- Petronius, Satyricon (Latin, 1st century).
- Apuleius, The Golden Ass (Latin, 2nd century).
- Chariton, The Loves of Chaereas and Callirhoe (Greek, 1st century–2nd century).
- Achilles Tatius, Leucippe and Clitophon (Greek, 2nd century).
- Longus, Daphnis and Chloe (Greek, 2nd century).
- Xenophon of Ephesus, Ephesian Tale (Greek, 2nd century–3rd century).
- Heliodorus, Ethiopian Tale (Greek, 3rd century–4th century).
- Anon, Acts of Xanthippe, Polyxena, and Rebecca (Greek, 3rd century–4th century).
- Anon, Joseph and Aseneth (Greek, 1st century–5th century).
- Anon, The Story of Apollonius, King of Tyre (Latin adaptation of lost Greek original, 5th century–6th century).
Asian works
Early important Asian novels include:
- Dandin, The Adventures of the Ten Princes (Sanskrit, 6th century–7th century).
- Banabhatta, Kadambari (Sanskrit, 7th century).
- Anon, The Tale of the Bamboo Cutter (Japanese, 10th century).
- Murasaki Shikibu, The Tale of Genji (Japanese, 11th century). Arguably the first novel, in the sense of a continued fictional narrative written by one author.
- Luo Guanzhong, Romance of the Three Kingdoms (Chinese, 14th century).
- Shi Nai'an and Luo Guanzhong, Water Margin (Chinese, 15th century).
- Wu Cheng'en, Journey to the West (Chinese, 16th century).
- Cao Xueqin, Dream of the Red Chamber (Chinese, 18th Century).
The 13th century
- Ramon Llull, Blanquerna (1283)
The 14th century
- Giovanni Boccaccio, Decameron (1353)
- Geoffrey Chaucer, Canterbury Tales (1386-1400)
The 15th century
- Antoine de la Sale, Petit Jehan de Saintré (1456)
- Thomas Malory, Le Morte d'Arthur, (English, 1485).
- Joanot Martorell, Tirant lo Blanc (Catalan, 1490), chivalric romance.
The 16th century
- Jacopo Sannazaro, La Arcadia, (Italian, 1504), pastoral novel.
- Garci Rodríguez de Montalvo, Amadis de Gaula (Spanish adaptation of lost 13th century original, 1508).
- Thomas More, Utopia (Latin, circa 1516).
- François Rabelais, Pantagruel, (French, 1532).
- Jorge de Montemayor, La Diana (Spanish, 1559), pastoral novel.
- Anon, Lazarillo de Tormes (Spanish, 1554).
- Mateo Alemán, Guzmán de Alfarache (Spanish, 1599).
The 17th century
- Miguel de Cervantes, Don Quixote de la Mancha (1605).
- Miguel de Cervantes, Novelas Exemplares (1613).
- Francisco de Quevedo, El buscón (Spanish, 1626), masterpiece of the picaresque subgenre.
- Hans Jakob Christoffel von Grimmelshausen, Simplicissimus (German, 1668/1669), the Thirty Years War put into satirical autobiography.
- Aphra Behn, Love-Letters between a Nobleman and his Sister (British, 1684/1685/1687), the first full blown epistolary novel.
- Aphra Behn, Oroonoko, (British, 1688).
The 18th century
- Eliza Haywood, Love in Excess, (British, 1719)
- Daniel Defoe, Robinson Crusoe, (British, 1719)
- Samuel Richardson, Pamela, (British, 1740)
- Henry Fielding, Tom Jones, (British, 1749)
- Laurence Sterne, Tristram Shandy, (British, 1759-1767)
- Tobias Smollett, The Expedition of Humphrey Clinker, (Scottish, 1771)
- Ignacy Krasicki, The Adventures of Nicholas Experience (the first Polish novel, 1776).
- Frances Burney, Evelina, (British, 1778)
- Ann Radcliffe, The Mysteries of Udolpho, (
The Godfather (novel)
The Godfather is a 1969 novel written by Mario Puzo. It details the story of a fictitious Italian Mafia family headed by Don Vito Corleone.
Titling
Godfather (Italian: il padrino) is a term often used to identify the leader of a Mafia group, i.e. the oldest or most representative member of a family.
Main characters and plot
The Godfather referred to in the title is Vito Corleone, whose surname recalls the town of Corleone, Sicily. Similarly, the maiden name of Corleone's mother is Corigliano, named after the town of Corigliano Calabro, Calabria; an area well known for Ndrangheta activity. Vito has four blood children, hothead Santino "Sonny" Corleone, the quiet and haphazard Frederico "Fredo/Freddy", the beautiful Constanzia "Connie" Corleone, and Michele/Michael Corleone; he also has one adoptive son, Tom Hagen who is roughly the same age as Sonny. Tom Hagen was a German/Irish orphan who lived on the streets of New York until he became friends with Sonny and was taken in by the Corleones.
Publishing
The novel was first published in hardcover on June 1, 1969 by Putnam of New York. It contains approximately 446 pages and has the ISBN 0399103422. At least three additional reprints have been issued since the original.
Film adaptation
In 1972, a film adaptation of the novel was released, starring Marlon Brando, Al Pacino, and directed by Francis Ford Coppola. Mario Puzo assisted with writing the screenplay and with other production tasks. The film grossed approximately $134 million and won various awards, including three Academy Awards, five Golden Globes and a Grammy. The sequel, The Godfather, Part II won 6 Oscars, and became the first sequel to win the Oscar for Best Picture.
Sequels
In 2004, Random House also published a new sequel to the Godfather saga, [http://www.markwinegardner.com/godfather The Godfather Returns] by [http://www.markwinegardner.com Mark Winegardner]. In September 2005, G.P. Putnam's Sons secured North American rights to The Godfather's Revenge, the capstone to the Corleone family saga, which began with Mario Puzo's landmark novel and was carried forward in Mark Winegardner's 2004 New York Times bestseller, The Godfather Returns. The Godfather's Revenge will likewise be written by Mr. Winegardner, based on Mr. Puzo's original characters.
Another Puzo novel featuring Michael Corleone as a minor character, The Sicilian, was published in 1984. The novel was set at the end of Michael's two-year exile in Sicily, and focused on the story of a legendary bandit named Salvatore Giuliano and his run-ins with the local Capo di Capi, Don Croce Malo. Michael has been told by his father Vito that he must escort Giuliano safely back to America with him.
The novel's plot is based on the supposedly real-life exploits of a Sicilian bandit named Salvatore Giuliano (the change in spelling appears to be deliberate on Puzo's part. More details on his life can be seen at [http://www.sicilian.net/salvatoregiuliano/english/index.html].
See also
- Mafia
- Crime
- Godparent
Sourcing
- Source this book
External links
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Category:The Godfather
Godfather, The
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th:เดอะก็อดฟาเธอร์
1972
1972 (MCMLXXII) was a leap year that started on a Saturday.
Events
- International year of the book
January
- January 2 - The Pierre Hotel Heist - Six men rob the safety deposit boxes of the Pierre Hotel in New York City. Loot is at least $4 million.
- January 4 - Rose Heilbron becomes the first woman judge at the Old Bailey in London.
- January 5 - President of the United States Richard Nixon orders the development of a space shuttle program.
- January 4 - Kurt Waldheim becomes the Secretary General of the United Nations.
- January 7 - Iberian Airlines passenger planes crashes into an 800' peak on island of Ibiza - 104 dead.
- January 9 - Howard Hughes speaks by telephone to denounce Clifford Irving's supposed biography about him.
- January 9 - RMS Queen Elizabeth is destroyed by fire (Hong Kong harbor).
- January 11 - East Pakistan becomes independent with the name Bangladesh.
- January 14 - King Frederick IX of Denmark dies - his daughter Queen Margaret II of Denmark ascends to the throne at January 16.
- January 19 - Libertarian enclave Minerva on a platform in the South Pacific, sponsored by the Phoenix Foundation, declares independence. Soon neighboring Tonga annexes the area and dismantles the platform
- January 22 - Denmark, Ireland and the United Kingdom join the EEC.
- January 23 - New Delhi bootlegger sells wood alcohol to a wedding party - 100 dead
- January 24 - Japanese soldier Shoichi Yokoi is discovered in Guam. He had spent 28 years in the jungle.
- January 25 - Shirley Chisholm, the first African American woman elected to US Congress, announces her candidacy for US president.
- January 26 - Yugoslavian air stewardress Vesna Vulovic is the only survivor when her plane crashes in Czechoslovakia. She survives after falling about 30,000' in the tail section of the aircraft.
- January 28 - Richard Chanfray claims he is Count of St Germain on French television.
- January 30 - Bloody Sunday - the British Army kills 13 unarmed Roman Catholic civil rights marchers in Derry, Ireland.
- January 30 - Pakistan withdraws from the British Commonwealth.
- January 31 - King Mahendra of Nepal dies, becoming the second king to die that month, and is succeeded by his son, Birendra.
February
- February 1 - First scientific hand-held calculator (HP-35) introduced (price $395).
- February 2 - A bomb explodes in British Yacht Club in West Berlin. Only casualty is Irwin Beelitz, a German boat builder. Movement 2 June announces it is in support of Irish Republican Army.
- February 2 - Anti-British riots throughout Ireland take place. The British Embassy in Dublin is burned to the ground as are several British owned businesses.
- February 3 - The Winter Olympics begin in Sapporo, Japan.
- February 4 - Mariner 9 sends pictures from Mars.
- February 5 - US airlines begin mandatory inspection of passengers and baggage.
- February 5 - Bob Douglas becomes the first African American elected to the Basketball Hall of Fame.
- February 9 - The British government declares a state of emergency over a miners' strike.
- February 15 - President of Ecuador José María Velasco Ibarra is deposed for the fourth time.
- February 15 - Phonorecords granted U.S. Federal copyright protection for the first time.
- February 17 - Sales of the Volkswagen Beetle model exceed those of Ford Model-T (15 million).
- February 18 - The California Supreme Court invalidates the state's death penalty and commutes the sentences of all death row inmates to life in prison.
- February 21-February 27 - President Richard M. Nixon makes an unprecedented eight-day visit to the People's Republic of China and meets with Mao Zedong.
- February 21 - The Soviet unmanned spaceship Luna 20 lands on the Moon.
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