ABSTRACT

The conventional view of Eliza Haywood's later career has been that she followed the new 'moral' turn in fiction in the 1740s, of which Samuel Richardson and Henry Fielding were the chief exponents. However, Fielding's plot in Tom Jones (1748-9) can be shown to be inspired and influenced by Haywood's The Fortunate Foundlings (1744) and Life's Progress through the Passions: Or, the Adventures of Natura (1748). Fielding's dialogue with the reader in Tom Jones, one of the novel's most distinctive features, is modelled on Haywood's dialogue with the reader in The Female Spectator (1744-46). Haywood's and Fielding's works are both politically engaged and both serve partisan causes. They share constructions of gender and sexuality but differ sharply on the issues of courtship and marriage. For Fielding the possible power given to women in the courtship plot of salon romances must be averted, and for him, as a Whig in the Puritan tradition, marriage represents the ideal end-goal. Haywood is sceptical about the possibility of happy marriages for women, and she favours continental and Tory traditions.

摘要

对伊丽莎·海伍德后期职业生涯的传统看法是，她追随了 1740 年代小说中新的“道德”转向，其中塞缪尔·理查森和亨利·菲尔丁是主要代表人物。然而，菲尔丁在汤姆·琼斯（1748-9）中的情节可以被证明是受到海伍德的《幸运的弃儿》（1744 年）和《生命在激情中的进步：或者，自然历险记》（1748 年）的启发和影响。菲尔丁在汤姆琼斯中与读者的对话是小说最显着的特征之一，以海伍德在《女性观众》（1744-46）中与读者的对话为蓝本。海伍德和菲尔丁的作品都涉及政治，都为党派事业服务。他们在性别和性方面有着共同的结构，但在求爱和婚姻问题上却截然不同。对于菲尔丁来说，沙龙恋情的求爱情节中可能赋予女性的权力必须避免，而对他而言，作为清教徒传统中的辉格党人，婚姻代表了理想的最终目标。海伍德对女性幸福婚姻的可能性持怀疑态度，她偏爱大陆和保守党传统。