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[Ogier Dudley]

Anovel is an extended work of narrative fiction usually written in prose and published as a book.[1] The English word to describe such a work derives from the Italian: novella for "new", "news", or "short story (of something new)", itself from the Latin: novella, a singular noun use of the neuter plural of novellus, diminutive of novus, meaning "new".[2] According to Margaret Doody, the novel has "a continuous and comprehensive history of about two thousand years", with its origins in the Ancient Greek and Roman novel, Medieval Chivalric romance, and in the tradition of the Italian Renaissance novella.[3] The ancient romance form was revived by Romanticism, in the historical romances of Walter Scott and the Gothic novel.[4]Some novelists, including Nathaniel Hawthorne,[5] Herman Melville,[6] Ann Radcliffe,[7] and John Cowper Powys,[8] preferred the term "romance". M. H. Abrams and Walter Scott have argued that a novel is a fiction narrative that displays a realistic depiction of the state of a society, while the romance encompasses any fictitious narrative that emphasizes marvellous or uncommon incidents.[9][10][11] Works of fiction that include marvellous or uncommon incidents are also novels, including Mary Shelley's Frankenstein,[12] J. R. R. Tolkien's The Lord of the Rings,[13] and Harper Lee's To Kill a Mockingbird.[14] Such "romances" should not be confused with the genre fiction romance novel, which focuses on romantic love.

Recent technological developments have led to many novels also being published in non-print media: this includes audio books, web novels, and ebooks. Another non-traditional fiction format can be found in graphic novels. While these comic book versions of works of fiction have their origins in the 19th century, they have only become popular recently.

A novel is a long, fictional narrative. The novel in the modern era usually makes use of a literary prose style. The development of the prose novel at this time was encouraged by innovations in printing, and the introduction of cheap paper in the 15th century.

East Asian countries, like China, Korea, Vietnam and Japan, use the word 小說 (pinyin: xiǎoshuō), which literally means "small talks", to refer to works of fiction of whatever length.[22] In Chinese, Japanese and Korean cultures, the concept of novel as it is understood in the Western world was (and still is) termed as "long length small talk" (長篇小說), novella as "medium length small talk" (中篇小說), and short stories as "short length small talk" (短篇小說). However, in Vietnamese culture, the term 小說 exclusively refers to 長篇小說 (long-length small talk), i.e. standard novel, while different terms are used to refer to novella and short stories.

The earliest novels include classical Greek and Latin prose narratives from the first century BC to the second century AD, such as Chariton's Callirhoe (mid 1st century), which is "arguably the earliest surviving Western novel",[28] as well as Petronius' Satyricon, Lucian's True Story, Apuleius' The Golden Ass, and the anonymous Aesop Romance and Alexander Romance. The style of these works was later adapted in later Byzantine novels such as Hysimine and Hysimines by Eustathios Makrembolites[29] Narrative forms were also developed in Classical Sanskrit in India during the 5th through 8th centuries. Vasavadatta by Subandhu, Daśakumāracarita and Avantisundarīkathā by Daṇḍin, and Kadambari by Banabhatta are among notable works. These narrative forms were influenced by much older classical Sanskrit plays and Indian classical drama literature.[30][31]

The European developments of the novel did not occur until after the invention of the printing press by Johannes Gutenberg around 1439, and the rise of the publishing industry over a century later.[32] Long European works continued to be in poetry in the 16th century. The modern European novel is often said to have begun with Don Quixote in 1605.[16] Another important early novel was the French pastoral novel L'Astre by Honore d'Urfe, published in 1610.

Romance or chivalric romance is a type of narrative in prose or verse popular in the aristocratic circles of High Medieval and Early Modern Europe. They were marvel-filled adventures, often of a knight-errant with heroic qualities, who undertakes a quest, yet it is "the emphasis on heterosexual love and courtly manners distinguishes it from the chanson de geste and other kinds of epic, which involve heroism."[33] In later romances, particularly those of French origin, there is a marked tendency to emphasize themes of courtly love.

The shift from verse to prose dates from the early 13th century; for example, the Romance of Flamenca. The Prose Lancelot or Vulgate Cycle also includes passages from that period. This collection indirectly led to Thomas Malory's Le Morte d'Arthur of the early 1470s. Prose became increasingly attractive because it enabled writers to associate popular stories with serious histories traditionally composed in prose, and could also be more easily translated.[34]

Popular literature also drew on themes of romance, but with ironic, satiric or burlesque intent. Romances reworked legends, fairy tales, and history, but by about 1600 they were out of fashion, and Miguel de Cervantes famously burlesqued them in Don Quixote (1605). Still, the modern image of the medieval is more influenced by the romance than by any other medieval genre, and the word "medieval" evokes knights, distressed damsels, dragons, and such tropes.[35]

The modern distinction between history and fiction did not exist in the early sixteenth century and the grossest improbabilities pervade many historical accounts found in the early modern print market. William Caxton's 1485 edition of Thomas Malory's Le Morte d'Arthur (1471) was sold as a true history, though the story unfolded in a series of magical incidents and historical improbabilities. Sir John Mandeville's Voyages, written in the 14th century, but circulated in printed editions throughout the 18th century,[36] was filled with natural wonders, which were accepted as fact, like the one-footed Ethiopians who use their extremity as an umbrella against the desert sun. Both works eventually came to be viewed as works of fiction.

A chapbook is an early type of popular literature printed in early modern Europe. Produced cheaply, chapbooks were commonly small, paper-covered booklets, usually printed on a single sheet folded into books of 8, 12, 16 and 24 pages. They were often illustrated with crude woodcuts, which sometimes bore no relation to the text. When illustrations were included in chapbooks, they were considered popular prints. The tradition arose in the 16th century, as soon as printed books became affordable, and rose to its height during the 17th and 18th centuries. Many different kinds of ephemera and popular or folk literature were published as chapbooks, such as almanacs, children's literature, folk tales, nursery rhymes, pamphlets, poetry, and political and religious tracts.[37]

The term "chapbook" for this type of literature was coined in the 19th century. The corresponding French and German terms are bibliothque bleue (blue book) and Volksbuch, respectively.[38][39][40] The principal historical subject matter of chapbooks was abridgements of ancient historians, popular medieval histories of knights, stories of comical heroes, religious legends, and collections of jests and fables.[41] The new printed books reached the households of urban citizens and country merchants who visited the cities as traders. Cheap printed histories were, in the 17th and 18th centuries, especially popular among apprentices and younger urban readers of both sexes.[42]

A market of literature in the modern sense of the word, that is a separate market for fiction and poetry, did not exist until the late seventeenth century. All books were sold under the rubric of "History and politicks" in the early 18th century, including pamphlets, memoirs, travel literature, political analysis, serious histories, romances, poetry, and novels.

That fictional histories shared the same space with academic histories and modern journalism had been criticized by historians since the end of the Middle Ages: fictions were "lies" and therefore hardly justifiable at all. The climate, however, changed in the 1670s.

Prefaces and title pages of seventeenth and early eighteenth century fiction acknowledged this pattern: histories could claim to be romances, but threaten to relate true events, as in the Roman clef. Other works could, conversely, claim to be factual histories, yet earn the suspicion that they were wholly invented. A further differentiation was made between private and public history: Daniel Defoe's Robinson Crusoe was, within this pattern, neither a "romance" nor a "novel". It smelled of romance, yet the preface stated that it should most certainly be read as a true private history.[46]

The rise of the modern novel as an alternative to the chivalric romance began with the publication of Miguel de Cervantes' novel Don Quixote:[47][48] "the first great novel of world literature".[49] It continued with Scarron's Roman Comique (the first part of which appeared in 1651), whose heroes noted the rivalry between French romances and the new Spanish genre.[50]In Germany an early example of the novel is Simplicius Simplicissimus by Hans Jakob Christoffel von Grimmelshausen, published in 1668,

Late 17th-century critics looked back on the history of prose fiction, proud of the generic shift that had taken place, leading towards the modern novel/novella.[51] The first perfect works in French were those of Scarron and Madame de La Fayette's "Spanish history" Zayde (1670). The development finally led to her Princesse de Clves (1678), the first novel with what would become characteristic French subject matter.[52][53]

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