the types of novel in English?
Answers
Explanation:
Types Of Novel
Historical
For the hack novelist, to whom speedy output is more important than art, thought, and originality, history provides ready-made plots and characters. A novel on Alexander the Great or Joan of Arc can be as flimsy and superficial as any schoolgirl romance. But historical themes, to which may be added prehistoric or mythical ones, have inspired the greatest novelists, as Tolstoy’s War and Peace and Stendhal’s Charterhouse of Parma reveal. In the 20th century, distinguished historical novels such as Arthur Koestler’s The Gladiators (1939), Robert Graves’s I, Claudius (1934), Zoé Oldenbourg’s Destiny of Fire (1960), and Mary Renault’s The King Must Die (1958) exemplify an important function of the fictional imagination—to interpret remote events in human and particular terms, to transform documentary
Picaresque
In Spain, the novel about the rogue or pícaro was a recognized form, and such English novels as Defoe’s The Fortunate Mistress (1724) can be regarded as picaresque in the etymological sense. But the term has come to connote as much the episodic nature of the original species as the dynamic of roguery. Fielding’s Tom Jones, whose hero is amoral and very nearly gallows-meat, has been called picaresque, and the Pickwick Papers of Dickens—whose eponym is a respectable and even childishly ingenuous scholar—can be accommodated in the category.
Sentimental
The term sentimental, in its mid-18th-century usage, signified refined or elevated feeling, and it is in this sense that it must be understood in Laurence Sterne’s Sentimental Journey (1768). Richardson’s Pamela (1740) and Rousseau’s Nouvelle Héloïse (1761) are sentimental in that they exhibit a passionate attachment between the sexes that rises above the merely physical. The vogue of the sentimental love novel was one of the features of the Romantic movement, and the form maintained a certain moving dignity despite a tendency to excessive emotional posturing. The germs of mawkishness are clearly present in Sterne’s Tristram Shandy (1760–67), though offset by a diluted Rabelaisianism and a certain cerebral quality. The debasement by which the term sentimental came to denote a self-indulgence in superficial emotions occurred in the Victorian era, under the influence of sanctimony, religiosity, and a large commercial demand for bourgeois fiction. Sentimental novels of the 19th and 20th centuries are characterized by an invertebrate emotionalism and a deliberately lachrymal appeal. Neither Dickens nor Thackeray was immune to the temptations of sentimentality—as is instanced by their treatment of deathbed scenes. The reported death of Tiny Tim in A Christmas Carol (1843) is an example of Dickens’ ability to provoke two tearful responses from the one situation—one of sorrow at a young death, the other of relief at the discovery that the death never occurred. .
Gothic
The first Gothic fiction appeared with works like Horace Walpole’s Castle of Otranto (1765) and Matthew Gregory Lewis’ Monk (1796), which countered 18th-century “rationalism” with scenes of mystery, horror, and wonder. Gothic (the spelling “Gothick” better conveys the contemporary flavour) was a designation derived from architecture, and it carried—in opposition to the Italianate style of neoclassical building more appropriate to the Augustan The atmosphere of a Gothic novel was expected to be dark, tempestuous, ghostly, full of madness, outrage, superstition, and the spirit of revenge. Mary Shelley’s Frankenstein, which maintains its original popularity and even notoriety, has in overplus the traditional Gothic ingredients, with its weird God-defying experiments, its eldritch shrieks, and, above all, its monster. Edgar Allan Poe developed the Gothic style brilliantly in the United States, and he has been a considerable influence. A good deal of early science fiction, like H.G. Wells’s Island of Doctor Moreau (1896), seems to spring out of the Gothic movement, and the Gothic atmosphere has been seriously cultivated in England in the later novels of Iris Murdoch and in the Gormenghast sequence beginning in 1946 of Mervyn Peake.
Psychological
The psychological novel first appeared in 17th-century France, with Madame de La Fayette’s Princesse de Clèves (1678), and the category was consolidated by works like the Abbé Prévost’s Manon Lescaut (1731) in the century following. More primitive fiction had been characterized by a proliferation of action and incidental characters; the psychological novel limited itself to a few characters whose motives for action could be examined and analyzed. In England, the psychological novel did not appear until the Victorian era, when George Eliot became its first great exponent. It has been assumed since then that the serious novelist’s prime concern is the workings of the human mind, and hence much of the greatest fiction must be termed psychological.
please mark me as brainlist plzzzzz
Answer:Mysteries.
Romance.
Thrillers.
Science Fiction.
Fantasy.
Historical Fiction.
Explanation: