Editing English novel (section)

==Romantic period==
{{Main|Romantic literature in English}}
[[File:Walter Scott - Project Gutenberg eText 18396.jpg|thumb|upright|Sir Walter Scott]]
The phrase 'Romantic novel' has several possible meanings. Here it refers to novels written during the [[Romantic era]] in literary history, which runs from the late 18th century until the beginning of the Victorian era in 1837. But to complicate matters there are novels written in the romance tradition by novelists like [[Walter Scott]], [[Nathaniel Hawthorne]], [[George Meredith]].<ref>J. A. Cuddon, ''A Dictionary of Literary Terms''. (Harmondsworth:Penguin Books, 1984), p. 582.</ref> In addition the phrase today is mostly used to refer to the popular [[pulp-fiction]] genre that focusses on romantic love. The Romantic period is especially associated with the poets [[William Blake]], [[William Wordsworth]], [[Samuel Taylor Coleridge]], [[George Byron]], [[Percy Shelley]] and [[John Keats]], though two major novelists, [[Jane Austen]] and [[Walter Scott]], also published in the early 19th century.

[[Horace Walpole]]'s 1764 novel, ''[[The Castle of Otranto]]'', invented the [[Gothic fiction]] genre. The word gothic was originally used in the sense of [[medieval]].<ref>J. A. Cuddon, ''A Dictionary of Literary Terms'', p. 289.</ref> This genre combines "the macabre, fantastic, and supernatural" and usually involves haunted castles, graveyards and various picturesque elements.<ref>''The Oxford Companion to English Literature'', ed. Margaret Drabble. (Oxford: Oxford University Press,1996), p. 411.</ref> Later novelist [[Ann Radcliffe]] introduced the brooding figure of the Gothic [[villain]] which developed into the [[Byronic hero]]. Her most popular and influential work, ''[[The Mysteries of Udolpho]]'' (1794), is frequently described as the archetypal Gothic novel. ''[[Vathek]]'' (1786), by [[William Thomas Beckford|William Beckford]], and ''[[The Monk]]'' (1796), by [[Matthew Lewis (writer)|Matthew Lewis]], were further notable early works in both the Gothic and horror genres.

[[Mary Shelley]]'s novel ''[[Frankenstein]]'' (1818), as another important [[Gothic novel]] as well as being an early example of [[science fiction]].<ref>''The Oxford Companion to English Literature'', p. 886.</ref> 
The [[vampire literature|vampire genre]] fiction began with [[John William Polidori]]'s ''[[The Vampyre]]'' (1819). This short story was inspired by the life of [[Lord Byron]] and his poem ''[[The Giaour]]''. An important later work is ''[[Varney the Vampire]]'' (1845), where many standard vampire conventions originated: Varney has fangs, leaves two puncture wounds on the neck of his victims, and has hypnotic powers and superhuman strength. Varney was also the first example of the "sympathetic vampire", who loathes his condition but is a slave to it.<ref>Skal, David J. (1996). ''V is for Vampire'', p. 99. New York: Plume. {{ISBN|0-452-27173-8}}.</ref>

[[File:Mary Wollstonecraft Shelley Rothwell.tif|left|thumb|upright|[[Mary Shelley]]]]
Among more minor novelists in this period [[Maria Edgeworth]] (1768–1849) and [[Thomas Love Peacock]] (1785–1866) are worthy of comment. Edgeworth's novel ''[[Castle Rackrent]]'' (1800) is "the first fully developed regional novel in English" as well as "the first true [[historical novel]] in English" and an important influence on Walter Scott.<ref>''The Oxford Companion to English Literature'', p. 310.</ref> Peacock was primarily a satirist in novels such as ''[[Nightmare Abbey]]'' (1818) and ''[[The Misfortunes of Elphin]]'' (1829).

[[Jane Austen]]'s (1775–1817) works critique the [[sentimental novel|novels of sensibility]] of the second half of the 18th century and are part of the transition to 19th-century realism.<ref>Litz, pp. 3–14; Grundy, "Jane Austen and Literary Traditions", ''The Cambridge Companion to Jane Austen'', pp. 192–193; Waldron, "Critical Responses, Early", ''Jane Austen in Context'', pp. 83, 89–90; Duffy, "Criticism, 1814–1870", ''The Jane Austen Companion'', pp. 93–94.</ref> Her plots, though fundamentally comic, highlight the dependence of women on marriage to secure social standing and economic security.<ref>A. Walton Litz, ''Jane Austen: A Study of Her Development''. New York: Oxford University Press, 1965. p. 142; Oliver MacDonagh, ''Jane Austen: Real and Imagined Worlds''. New Haven: Yale University Press, 1991. pp. 66–75; Collins, 160–161.</ref> Austen brings to light the hardships women faced, who usually did not inherit money, could not work and where their only chance in life depended on the man they married. She reveals not only the difficulties women faced in her day, but also what was expected of men and of the careers they had to follow. This she does with wit and humour and with endings where all characters, good or bad, receive exactly what they deserve.  Her work brought her little personal fame and only a few positive reviews during her lifetime, but the publication in 1869 of her nephew's ''[[A Memoir of Jane Austen]]'' introduced her to a wider public, and by the 1940s she had become accepted as a major writer. The second half of the 20th century saw a proliferation of Austen scholarship and the emergence of a [[Janeite]] fan culture. Austen's  works include ''[[Pride and Prejudice]]'' (1813) ''[[Sense and Sensibility]]'' (1811), ''[[Mansfield Park]]'', ''[[Persuasion (novel)|Persuasion]]'' and ''[[Emma (novel)|Emma]]''. 

The other major novelist at the beginning of the early 19th century was [[Sir Walter Scott]] (1771–1832), who was not only a highly successful British novelist but "the greatest single influence on fiction in the 19th century ... [and] a European figure".<ref>J. A. Cuddon, p. 435.</ref> Scott established the genre of the [[historical novel]] with his series of  [[Waverley Novels]], including ''[[Waverley (novel)|Waverley]]'' (1814), ''[[The Antiquary]]'' (1816), and ''[[The Heart of Midlothian]]'' (1818).<ref>''The Oxford Companion to English Literature'', p. 890.</ref> However, Austen is today widely read and the source for films and television series, while Scott is less often read.