Show Summary Details

Page of

PRINTED FROM OXFORD HANDBOOKS ONLINE ( © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice).

date: 28 February 2020

Abstract and Keywords

Like their imitators, Eliza Haywood and even Daniel Defoe have been called mercenaries who wrote to formula for low readers with limited intellects. Yet Love in Excess and Robinson Crusoe inaugurated a decade of lively, market-driven narrative experiment aimed at sophisticated gentry readers. When low scandal titillated, it originated in high life. Highly inventive, Jane Barker, Mary Davys, Penelope Aubin, and some authors of the many lives and surprising adventures in the Crusoe manner read their rivals with professional care. They adapted and contested as well as adopted Defoe’s distinctive fictional memoir, Haywood’s equally modern amatory sublime. So did Jonathan Swift when he parodied Robinson Crusoe’s strategies in Gulliver’s Travels, an anonymous narrative that matched its commercial triumph. Swift hastened the vogue’s end, but these novelists’ commercial and literary legacy endures.

Keywords: novel, print, Eliza Haywood, Daniel Defoe, Penelope Aubin, Jonathan Swift

Access to the complete content on Oxford Handbooks Online requires a subscription or purchase. Public users are able to search the site and view the abstracts and keywords for each book and chapter without a subscription.

Please subscribe or login to access full text content.

If you have purchased a print title that contains an access token, please see the token for information about how to register your code.

For questions on access or troubleshooting, please check our FAQs, and if you can''t find the answer there, please contact us.