Summary
Mansfield Park is named for the magnificent, idyllic estate that is home to the wealthy Bertram family and a powerful symbol of tradition and stability. When Sir Thomas Bertram decides to bring up his poor niece Fanny with his own children, he introduces into Mansfield Park a strong character of goo... Full description
Summary: |
Mansfield Park is named for the magnificent, idyllic estate that is home to the wealthy Bertram family and a powerful symbol of tradition and stability. When Sir Thomas Bertram decides to bring up his poor niece Fanny with his own children, he introduces into Mansfield Park a strong character of good sense. Fanny is acutely aware of her inferior status, yet she dares to love Edmund Bertram from afar. But with five marriageable young people on the premises, the peace at Mansfield cannot last. Courtships, parties, and intrigues throw the place into turmoil, and Fanny finds herself unwillingly competing with a dazzlingly witty and lovely rival. |
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Item Description: |
Downloadable audio file. Title from: Title details screen. Unabridged. Duration: 14:51:26. |
Playing Time: |
14:51:26 |
Format: |
Requires OverDrive Media Console (WMA file size: 213571 KB). Mode of access: World Wide Web. |
ISBN: |
9780792770053 0792770056 |
Author Notes: |
When Fielding undertook writing prose fiction to ridicule the simple morality of Pamela by Samuel Richardson, he first wrote the hilarious burlesque Shamela (1741). However, he soon found himself considering all the forces working on humans, and in Joseph Andrews (1742) (centering on his invented brother of Pamela), he played with the patterns of Homer, the Bible, and Cervantes to create what he called "a comic epic poem in prose." His preface describing this new art form is one of the major documents in literary criticism of the novel. Jonathan Wild, a fictional rogue biography of a year later, plays heavily with ironic techniques that leave unsettled Fielding's great and recurring theme: the difficulty of uniting goodness, or an outflowing love of others, with prudence in a world where corrupted institutions support divisive pride rather than harmony and self-fulfillment. In his masterpiece Tom Jones (1749), Fielding not only faces this issue persuasively but also shows for the first time the possibility of bringing a whole world into an artistic unity, as his model Homer had done in verse. Fielding develops a coherent and centered sequence of events-something Congreve had done casually on a small scale in Incognita 60 years before. In addition he also relates the plot organically to character and theme, by which he gives us a vision of the archetypal good person (Tom) on a journey toward understanding. Every act by every character in the book reflects the special and typical psychology of that character and the proper moral response. In Tom Jones, Fielding affirms the existence of an order under the surface of chaos. In his last novel, Amelia (1751), which realistically examines the misery of London, he can find nothing reliable except the prudent good heart, and that only if its possessor escapes into the country. Fielding based the title character on his second wife, with whom he was deeply in love. However, ill himself, still saddened by the deaths of his intensely loved first wife and daughter, and depressed by a London magistrate's endless toil against corruption, Fielding saw little hope for goodness in that novel or in his informal Journal of a Voyage to Lisbon (1755). Shortly after traveling to Lisbon for his health, Fielding died at the age of 47, having proved to his contemporaries and successors that the lowly novel was capable of the richest achievements of art. (Bowker Author Biography) |