The Pamela Media Event

Mr. B finds Pamela writing

Joseph Highmore, 1743

When Samuel Richardson printed Pamela anonymously in 1740, he might not have known the cultural impact his text would make. He might not have foreseen “The Pamela Media Event” and the subsequent onslaught of criticism, emulation, and analysis of his work. He might not have known that his text would contribute to the re-shaping of the printing culture in its entirety. He did know, however, exactly the most effective and beneficial way to market his work. While the Pamela media event flashed into existence due to a combination of varying factors, the most influential of these were Richardson’s own experiences in the printing world and his extensive knowledge about the climate of the print culture during the production phase of his novel.

Pamela emerged into a society with an “open” system of print market, defined by William Warner, author of Licensing Entertainment as, “a system of production and consumption in which no one can control or guarantee the meanings that sweep through its texts” (181). The market swayed constantly, depending on who was in print at the time. With no stipulations or standards, early “scandalous” and often erotic romances proliferated, quickly inciting anti-novelist responses. The resulting widespread anti-novelist sentiments facilitated the advent of the ‘elevated’ (also called ‘reformed’) novelists production and circulation of their own fictions. The negative reception of these “racy, immoral stor[ies] of love,” influenced the ‘reformed’s’ movement toward ethical and moral works, intensifying their conviction that the author has a duty to create a work that may be seen as a “vehicle for moral improvement” (183).

Upon further examination of Richardson’s actions during this period, it seems that more of his concern might be dedicated to his personal success than the promulgation of virtue. As a printer, he must have recognized the lack of a literary response or dialogue regarding the controversial question of whether or not to allow leisurely reading, especially in light of the new, inflammatory romances. Having witnessed the extent of the anti-novelist argument, he conceived a solution to the question using an idea he had discarded twenty-five years previously. As Warner considers, “perhaps nothing contributed more to triggering the Pamela media event then Richardson’s provocative claim…that however much Pamela might resemble a novel, it is not one, and further, that reading it will promote…the virtue of the reader” (186). Using his knowledge of the climate of the printing market, Richardson had managed to develop a foolproof idea to achieve literary success within society.

Richardson’s astute observation of the conditions of the print market served him well; whether made aware of it or not he grew to be more than just an observer, he himself became a major influence on the market. His thorough promotion of the novel reminds us that, “these are the acts not of an author or novelist, but of a print-media worker attempting to intervene in media culture and change novel consumption practices” (201). Richardson values “calculated indirection,” evidenced by the anonymous nature of his publication, he portrays himself not as a narrator, but as an unassuming editor. This technique allows Richardson to step back from the position of “author” and lends elements of formal realism to the epistolary aspect of the novel.

Richardson also introduces a “reading guide” at the beginning of his novels, an innovative method to connect Richardson, in his emphasized lesser role as editor, to his readership. The guide he creates is wonderfully reminiscent of Richardson’s work as a printer, “it is, however, of considerable interest for the way in which it anticipates a distinctly modern discourse of advertising, product promotion, and cultural improvement” (203). Regardless of the progressiveness of his work, the actual intent of the reading guide is to distinguish Pamela from the slightly similar novels of amorous intrigue by providing the audience with information on how best to digest the work while reading.

Warner summarizes Richardson’s instructions, saying, “Richardson’s reader’s guide makes three broad claims about the text it introduces: it warranties its beneficial effect upon readers; it promotes the special efficacy of the letter form; and it stipulates a simple reader for Pamela” (204). The first point emphasizes that Pamela should not be read like a novel, something he perceived as containing questionable content. Richardson thoughtfully separates himself from the "n-word," allowing readers to indulge their curiosity without feeling demeritorious. The second claim focuses on the importance of the epistolary structure; that the use of letters implies reality and that ‘writing to the moment’ imbues the text with an exhilarating sense of urgency. This structure attempts to contrast the practice of novels of amorous intrigue cutting their readers away from familiarity so as to take them somewhere incredible. Instead, it draws the reader into the novel, in fact Richardson was often criticized for the absorptive nature of his work. The final claim that Richardson’s reading guide makes is that the reader needs to become virtuous, like his Pamela, in order to fully reap the benefits of the moral education the novel supplies. The problem inherent in this claim is that Pamela does not always conduct herself with the virtue that Richardson graces her. The delusion and near-exaggeration of her virtue on the part of the editor serves to render sections of the text ineffective. However, the problem with the third claim is solved by his first: do not read between the lines. If so, Pamela's bouts of pseudo-"immorality" (vanity, encouraging of Mr.B's desires, etc.) are actually innocent and without design or sin. Richardson's reading guide is crucial to examine, for it depicts how Richardson yielded to print culture, but also in many ways manipulated it. This technique was common practice for Richardson, and it contributed to his great esteem.

Richardson’s knowledge and observations of the world are crucial to his success as an author. Claims made in Richardson’s reading guide are reflective of a consciousness that extends beyond the realm of the novel. Even though these claims occasionally lack complete development, his clear attempt to address the questions and concerns of his readers establishes him as intellectual, aware, and capable of acknowledging and interacting with those in different spheres. Beyond that, his ability to discern which of his audience’s issues are in need of addressing particularly indicates attentiveness to the media print culture and connectedness with the readers within. This overarching commonality, membership in this “media print” society, forged connections between people of every status. Richardson’s impression of this universality permeates his novel, specifically highlighting the broad appeal of his characters and their truths. This widespread appeal precipitated his widespread popularity.

Richardson and The Middle Class | The Epistolary Novel | Works Cited

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English 335, The 18th Century British Novel: Texts and Contexts, Washington and Lee University