Social
conflict in European people gives a massive effect to the English language,
social culture, politic, and human history. They are a common point that
becomes human document through a history and story in European people. The Anglo-Saxon
period is the predecessor of English literature as identifying the Romans leaves and comes to England. The Anglo-Saxon is the old English language impressed the
English novel literacy. One of their works is the story of Beowulf as a firstly
famous story in poetry. It tells the glory of Danish knight and the strong king
who eliminate the darkness in the Britain kingdom.
The
war between nations in England impacted the revolution and development in old
English period to the Middle English period against the science of literacy in
English language. It impacts the method of writing the story in the novel and
how is the story written, so both can make the improvement to the artistic
literacy of English. Style of the story, language, and the storyline is very
different with the works in Middle English. The literatures in the Anglo Saxon
period rather write the heroic story in human life and human sacrifice as the
historian art, than writing the romance in that time.
Firstly, the Anglo Saxon people come
from Denmark and East Germany. This people have own belief to their ancestor.
Their ancestors are from Scandinavia. Therefore, they have the cultural mix,
Scandinavia culture and because they stayed in Germany that is the Romanian
authority, so that the Romanian impacts included their culture “Anglo-Saxon”. They have their own
traditional beliefs (heathen belief). They worship goddess before the Christian
religion mostly intervened them. In their mythology, goddess is affecting their
lives, such as life, death, war, and natural.
Characterization, social or individual
identity, and history is the underlying emphasis within many eighteenth century
novels is their emphasis on the individual, and the extent to which they
portray the inner life of the individual as distinct from his or her social
class, rank, status. This remained a continual tension within the novel
throughout the nineteenth century, culminating in the divorce of the late 19th
C. when individual/ society are seen to be antagonistic rather than
self-supporting.
The impact and significance of
the novel form may be especially obvious in the case of the English novel.
Through the period that gave rise to the novel, England experienced a
convulsive social transformation one that produced the world's first modern,
capitalist economy. Along the way, traditional social values often appeared to
be outdated, and so did traditional narrative forms
It is no surprise, then, that the
great English novelists were eager to create something new and different.
Breaking from traditions in which stories were usually centered on aristocrats
and nobles, they focused on the thoughts and feelings of ordinary people,
taking pains to capture the rhythms of everyday life. At the same time, they
also reacted to a number of larger developments: industrialization and
urbanization, democratization and globalization.
Birth of the "Novel",
with its associations of newness and originality, occurs in the eighteenth
century. Before that there had been forms of long and continuous narrative
prose, but it was only in the 1720s that we begin to see the emergence of a
recognizable "Novel" form, example, concerned with the realistic
depiction of middle class life, values and experience, showing the development
of individual and individuated characters, over time. Contrast with the forms
of Elizabethan and Jacobean drama (concerned either with the Aristocracy, or
with gratuitous investigation of low-life). In terms of the subsequent
development of the novel, example, the Realist 19th Century novel, the period
of the eighteenth century is a mixture of consolidation and experimentation,
either establishing foundations, or of experimenting with new possibilities. Epistolary
form, confession, rogues biography, anti-romance, picaresque, moral tract, etc
return to this in Contexts of the Rise of the Novel.
Shape and form are working
against this was the need to shape experience into narrative order. Part of the
answer, in Defoe's case, was to produce a loose baggy monster of a novel,
without clear sense of narrative order and progression the episodic technique.
By the time we get to Fielding he is already self-consciously using Chapters
and Books (see Book II, Ch. 1 of Joseph Andrews.) This conflict between realistic
intention and aesthetic narrative order is most clearly evident in Sterne's
anti-novel Tristram Shandy, in which the conventions of the Novel are exploded
before the novel has had a chance to become a settled form.
Related also was the issue of
moral purpose. Eighteenth century novel torn between the demand not to offend
(bring a blush to the maidenliness of cheeks), to teach, and yet also to be
realistic. Novel writing from this point onwards tied to the moral demands of a
middle class readership, (pleasurable instruction or to teach and to delight, Sidney
and Elizabethan aesthetics) or to offer salacious or gratuitous accounts of low
life. The moral demands on writers exploded at the end of the nineteenth
century (Hardy, James, George Moore), but present here in the degree to which
novelists deal with sex, adultery, passion and desire. Novel is a morally
uptight form from the start. Same constraints apply to political issues.
