英文摘要 |
Tobias Smollett puts on a show in all of his eighteenth-century novels, but the nature of that show is subject to transformation between his early and late works, largely, this paper claims, as a result of the radically altering circumstances with which the characters must contend. This paper examines Smollett's changing authorial use of the spectacular in two areas: conflict and character development. It first describes the author's move away from the duel as the prime narrative tool to resolve character conflicts. Second, the paper analyzes the portrayal of character and the strange mismatch between the very limited language of spectacular gesture and extremes of emotion designed to play to the gallery and the later introspective paths to character creation more familiar in the novels of the next century. Feudal spectacle has no place in the new Georgian establishment; nor does the fiercely independent self. |