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By beginning Book I with some self-conscious reflections on the role of an author, Fielding immediately incorporates his "Reader" into the novel. In Chapter I, Fielding refers to the reader in the third person, and in the rest of Book I he addresses the reader directly—a form of address known as apostrophe. Fielding's deep concern for establishing a relationship between author and reader reflects on the context in which he was writing: with the "novel" as a newly emerging form of literature, the act of reading was shifting from a public to a private experience, which explains why Fielding always refers to a single reader, not to a group of readers. Fielding's concern is not without irony, however, since Fielding often makes the reader aware of how little power he or she has. While the narrator promises in Chapter I to provide a menu at the beginning of each chapter, the reader soon realizes that this menu is not to be as lucid and useful as promised. By involving the Reader in the novel, Fielding invites us to reflect on the construction of the work and on the reading process itself. By relentlessly alluding to writers and figures from Classical Antiquity and Mythology, Fielding reminds the reader of the strong intellectual foundation on which this work has been built. Yet Fielding greets even these references with some irony. Indeed, Fielding questions the very definition of a "novel" by creating a pastiche of various styles of writing. He expresses scorn towards the "Romances, Novels, Plays and Poems, with which the Stalls abound" and implies in Chapter III that his work deserves to be placed among the more reputable "History" genre. Yet the plot that drives Book I—Mr. Allworthy's discovery of the foundling in his bed, and the marriage of Miss Bridget Allworthy to Captain Blifil—suggests that Fielding is trying to revolutionize the very notion of "History," by rejecting dour political histories and trying to construct a set of personal histories instead. Instead of probing into his characters' psychologies, as a more traditional novel might, Fielding insists on presenting "scenes" to the reader—faithful transcriptions of their actions and dialogue that read like historical facts.