Abstract
There being no novel form in 1606 with which to mock or mimic the noting of events in a diary, Jonson’s Volpone has to stand as the first piece of literary irony aimed at the diary form.1 More important still, the very existence of such an ironical comment suggests that the writing of diaries was a recognised social fact at the time, and the formula with which a Lady Margaret Hoby ended one immensely boring account of a day in 1599 (‘And so to bed’) prefigures Pepys, the innovating genius, by over 60 years.2 While the scope of our inquiry into diary novels makes it unnecessary to analyse in any depth the early centuries of diary writing, it should be pointed out that William Matthews’s Annotated Bibliography of British Diaries (1950) goes back as far as 1442 for its first example: it would be very strange if the aims and characteristics of such journals did not vary enormously in the course of more than 500 years.
Notandum,
A rat had gnawn my spur-leathers: notwithstanding,
I put on new, and did go forth: but, first,
I threw three beans over the threshold. Item,
I went, and bought two tooth-picks, whereof one
I burst, immediately, in a discourse
With a Dutch merchant, ’bout ragion del stato.
From him I went, and paid a moccenigo,
For piecing my silk stockings; by the way,
I cheapened sprats: and at St Mark’s I urined.
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Notes
This extract (Act IV, scene i) is quoted in R. Fothergill, Private Chronicles: A Study of English Diaries (Oxford University Press, 1974) p. 19.
Here and in the next paragraph I am again indebted to Robert Fothergill, op. cit., pp. 14–26.
J. Rousset, Narcisse romancier (Corti, 1973) pp. 92–3.
See A. Girard, Le Journal intime (Presses universitaires de France, 1963) pp. 66, 74–5.
See Fothergill, op. cit., p. 33.
See Girard, op. cit., pp. 97–8.
C. Nodier, Romans de Charles Nodier, preface of 1840 (Charpentier, 1873) p. 19.
Ibid., p. 53. The similarity with Lamartine may be seen by comparing the French original (‘Souvent …, au soleil couchant, je m’assieds sur la pente d’un coteau, sous quelque vieux chêne’) with the opening of the poem ‘L’Isolement’: Souvent sur la montagne, à l’ombre du vieux chêne, Au coucher du soleil, tristement je m’assieds.
Marquise de Souza, Eugène de Rothelin, vol. 1 (Nicolle, 1808) pp. 5 and 47.
Mme de Krüdener, Valérie (Charpentier, 1846) p. 1.
‘Mes vingt-cinq jours’, in G. de Maupaussant, Contes et nouvelles, vol. 2 (Gallimard, Pléïade edition, 1979) p. 534.
‘Un Fou’, in ibid., p. 546.
‘Le Horla’, in ibid., pp. 913–38. For the 1886 version see pp. 822–30.
A. Frémy, Journal d’une jeune fille, 2nd edn (Lévy, 1861).
Ibid., p. 1.
O. Feuillet, Le Journal d’une femme (Calmann-Lévy, 1887).
Ibid., p. 47.
A. France, La Vie littéraire (1889) pp. 89–91, as quoted by Girard, op. cit., p. 569.
P. Bourget, Le Fantôme (Plon-Nourrit, 1901) pp. 228, 327–8.
F. Rolfe, Don Renato, edited by C. Woolf (Chatto and Windus, 1963) p. 7.
Ibid., p. 244.
H. Söderberg, Doctor Glas (Chatto and Windus, 1963) p. 16.
P. Purser, A Small Explosion (Secker and Warburg, 1979) p. 4.
A. Gide, Les Cahiers d’André Walter (Gallimard, 1952) p. 82.
V. Raoul, The French Fictional Journal (University of Toronto Press, 1980) p. 75.
M. Butor, L’Emploi du temps (‘10/18’ edition, 1966) p. 41 (entry for 15 May).
M. Sarton, As We Are Now (Gollancz, 1974) p. 45. An even more explicit assertion is made by the diarist in We: ‘Yes, I had made an entry of it. And, consequently, all that had really taken place.’ See Y. Zamyatin, We (Penguin Modern Classics, 1983) p. 159.
Evan J. Connell, The Diary of a Rapist (Heinemann, 1967) p. 237.
A. de Céspedes, The Secret (Harvill Press, 1957) p. 211. A translation of Quaderno proibito (1952) (entry for 24 May).
P. Ackroyd, The Last Testament of Oscar Wilde (Hamish Hamilton, 1983).
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© 1989 Trevor Field
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Field, T. (1989). History and Evolution. In: Form and Function in the Diary Novel. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-10209-9_2
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