For example
Gulliver's Travels: Travels into Several Remote Nations of the World. In Four Parts. By Lemuel Gulliver, First a Surgeon, and then a Captain of Several Ships
and
Robinson Crusoe: The Life and Strange Surprizing Adventures of Robinson Crusoe, Of York, Mariner: Who lived Eight and Twenty Years, all alone in an un-inhabited Island on the Coast of America, near the Mouth of the Great River of Oroonoque; Having been cast on Shore by Shipwreck, wherein all the Men perished but himself. With An Account how he was at last as strangely deliver'd by Pyrates.
How did we transition to modern titles which are mostly single words or phrases that tell you almost nothing about the contents. Further information being provided on the synopsis on the back.
A tangential question: when did numbered sequels come into use? For example, Terminator 2 or GTAII.
It's hard to imagine a "Pride and Prejudice 2"
Books were generally sold unbound as loose manuscripts. The verbose title page served the purpose today served by the blurbs on the back cover: To advertise the contents such that a prospective reader (and customer!) might be encouraged to buy the book.
This practice of long descriptive titles persisted into the 1860s and 1870s when they gradually became less common as the popular press was increasingly dominated by serialized novels.
There was GREAT thread about 2 years ago that discussed this issue in more detail: https://www.reddit.com/r/AskHistorians/comments/1z77ky/why_were_book_titles_of_the_19th_and_18th_century/
As for numbered sequels, this seems to become common sometime in the 1890s or early 20th century. The first instance of multiple numbered sequels is the collections of Winnetou stories (numbered I-IV) by German pulp-Western author Karl May. I think Winnetou I was first collected into a single published volume around 1896. Some other English and American pulp writers of roughly the same period, like E.E. "Doc" Smith also published numbed series slightly later in the 1920s and 1930s, suggesting the practice was becoming well-established by then.
It makes sense that this practice would have been carried over into the early movie industry -- several of the early Hollywood screenwriters got their start writing plot-driven fiction for the pulp magazine market.
the early/mid 18th Century saw the rise in popularity of the novel as a literary form, and as such writers at the time almost had to guide or teach the public how to read long prose narratives (whilst novels did exist before this time the most accessible forms to the wider population were plays and perhaps poetry). This often results in giving away a lot of the setting and plot points at the start, in order to draw in a public unused to reading, and sometimes even including the ending (Roxana: The Fortunate Mistress: Or, A History of the Life and Vast Variety of Fortunes of Mademoiselle de Beleau, Afterwards Called the Countess de Wintselsheim, in Germany, Being the Person known by the Name of the Lady Roxana, in the Time of King Charles II being a good example of this). Chapters are also rigidly defined and usually come with a 'previously...' to recap what the reader has already processed, and allow for a much more protracted discourse.
Of course this leads to some incredibly bloated texts with zero suspense, the epitome of this being 'Clarissa; or the History of a Young Lady: Comprehending the Most Important Concerns of Private Life, and particularly shewing the distresses that may attend the misconduct both of parents and children, in relation to marriage'. But hey, that's just my personal gripe against 18thC literature