HENRY FIELDING (1707-54)
novels ++ most prolific and popular dramatist of the 1730s - satiric farces against the
government +++ political journalist, wrote periodical essays
b. Somerset, of a distinguished legal and military family upper-class
educated first at home under the tutelage of a clergyman, then at Eton, and finally at
the University of Leyden (studied law)
began his literary career as a playwright: 8 long plays and more than 15 short plays,
which he called farces ---- Fielding's novels bear the influence of the dramatic form -
three important traits - learned on the stage: facility with dialogue, ability to structure
fiction, and excellent handling of complicated plots
managed Little Theatre in Haymarket
published a biweekly newspaper, the Covent Garden Journal & contributed to a
periodical, The Champion
novels: Shamela (1741), Joseph Andrews (1742), Jonathan Wild (1743), Tom Jones
(1749), Amelia (1751)
broken in health, went on voyage to Portugal - died Lisbon - Journal of a Voyage to
Lisbon, pub. 1755
innovations in theory of novel: first English theorist of the novel: the
essays in Tom J ones = an equivalent of Aristotles poetics for the novel -
complex structure of plot - dialogue narrator-reader
Fielding's career as a novelist began with the writing of AN APOLOGY
FOR THE LI FE OF MRS SHAMELA ANDREWS (1741) to parody
Pamela (1740), by Samuel Richardson (both - written as a series of letters
from the heroine to various acquaintances)
Fielding found both Richardson's attitude and Pamela's virtue rather
pretentious, so he created Shamela not as a distressed maiden, but more like a
femme fatalewho schemes to satisfy her lusty nature and to marry well
Fieldings claim: Pamelas behaviour - dictated by prudence rather than virtue:
only by keeping her virginity might she reach a higher social status - Fielding
lampooned the ridiculous situation generated by Pamelas presumed hypocrisy -
suspicion of Pamela's motives: Shamela is a vulgar, artful and dissolute woman
who pretends to be virtuous in order to entrap her master Shamela generated
Richardsons great enmity towards Fielding (chief rivals in the art of the novel)
J OSEPH ANDREWS (1742): another satire on Pamela, more significant parody of
the same novel (Joseph Andrews, Pamela's brother, is forced to protect his virtue from
attacks made by the mistress of the house, Lady Booby and by her attendant, Mrs.
Slipslop)
Fielding sets Joseph out on the road with his old teacher Parson Adams - one of the
first of the picaresque novels - novel centres on the travels of the hero, the characters
consisting mainly of the people he meets on the road. There are many opportunities for
physical action fights, chases - many of these - described in mock-heroic terms -
Fielding was very concerned to establish his kind of novel in a respectable classical
tradition - characters Adams and Joseph meet on their travels = a comic gallery of
remarkable vividness and humanity
tightly-knit, complex, and rapidly moving plot - picaresque novel based on the pattern
of Cervantes' Don Quixote, in which the plot concerns the travels of a hero and his
companion and the various encounters on their journey - same circular movement
from the country to the road, to the city and back to the country in both novels:
Fielding articulates and executes of a new theory of writing - begun in Fielding's
preface to J oseph Andrews and continued in the introductory chapters of each of
the 18 books of Tom J ones.
preface to J oseph Andrews: promotes a theory of fiction
diametrically opposed to Richardsons - Fielding announces intention to
create a new formula for the novel: a comic epic poem in prose, a special
form of History or Biography whose subject is timeless and universal:
strives hard to justify his enterprise and bring it in line with the classical
tradition (title page: "Written in Imitation of the Manner of Cervantes")
comic: different from the serious romance in plot & action (no longer
grave and solemn), but ridiculous and light - presents actions which are
light and ridiculous rather than highly serious
as compared with the traditional epic: much larger circle of incidents +
wider group of characters: people of inferior rank as well aim: to
imitate manners not men, species not individuals diction contains
burlesque or is mock-heroic, and it is written in prose rather than verse
detailed panorama of mid-18th century English society: manners,
beliefs though set firmly in the England of George II, Joseph
Andrews = the History of the World in general I describe not
Men, but Manners; not an Individual, but a species aim of the artist
in the Christian humanist tradition: penetrate through multiplicity to
unity, through the particular to the universal
Fieldings conception of the epic - novel = essentially the
continuation the epic [narrative form on a large scale]
THE HI STORY OF TOM J ONES, A FOUNDLI NG (1749)
heroic, historical, prosaic poem, a specimen of prosaic-comi-epic writing
EPIC = long narrative poem that treats a single heroic figure or a group of
such figures and concerns a historical event (war/conquest)/ heroic quest/ a
significant mythic or legendary achievement that is central to the traditions and
beliefs of its culture belongs to oral culture (when a nation is taking stock of
its historical, cultural, religious heritage) - hero: semi divine, performs
difficult, virtuous deeds - interaction humans-gods/ fabulous adventures/
supernatural overtones - long and elaborate narrative design/ episodic
sequence/ elevated language/ poetic techniques: invocation of a muse,
extended similes, detailed descriptions of arms, armour, catalogues of warriors/
Narrative features: formal combat between warriors prefaced by an exchange
of boasts; accounts of games and tournaments; descriptions of sacrifices and
other rituals [e.g. Babylonian Ghilgamesh saga; Sanskrit Mahabharata;
Ramayana; Greek Iliad, Odyssey; Beowulf; Chanson de Roland;
Nibelungenlied; the Cid]
comic variant of epic - burlesque form of epic diction + plot: comic
characters could hardly be expected to perform heroic deeds; instead: mock-
heroic battles - Moll Seagrims churchyard battle the village mob assaults a
pregnant girl after church service burlesque, comic note
action has epic quality -presents a sweeping panorama of a whole society, as
opposed to Richardsons detailed picture of a very small social group Tom
Jones - not necessarily centred around Tom but around society at large
Fielding calls Tom Jones a HISTORY - describes his role as that of historian or
biographer whose function was to give a faithful presentation of the life of his time
Structure: 18 books divided into 3 units - symmetry of novels construction tidy
neo-classical shape
Books I-VI: rural section: in the countryside: Tom brought up with Blifil,
legitimate son of Bridget Blifil resents him, plots to discredit Tom; Tom
banished from Allworthys house, leaves for London.
Books VII-XII: the PICARESQUE, on-the-road section - episodic
structure: tribulations of Tom & his companion, Partridge (schoolmaster
turned barber, Joness Sancho Panza); journey to London, encounter
innkeepers, soldiers, gypsies, travellers, love affairs (with Mrs Waters) Jenny
Jones, his supposed mother. Farcical scenes at Upton Inn: Tom believes he has
committed incest with his mother: reversal: Sophia-Tom chase - journey of
discovery, initiation: a certain evolution of the hero who gains wisdom &
maturity + gives unity to the plot. Presented as a foundling, Toms story = the
story of his search for identity - Tom - choice of common English name +
description of the hero as a foundling: deals with English society as it is
eventually proves to be of noble blood: archetypal folk theme. In fact,
Fieldings premise: fixed nature of character Tom Jones = basically good,
that troubles originate in the others and his own errors of judgement - in the
natural order of things goodness, disciplined by sound judgment, will be
rewarded [Fielding: belief that man is normatively good because created in the
image of God - Latitudinarianism: good man is protected by Providence, which
will lead to his salvation]
Books XIII-XVIII: urban, metropolitan section - life in London: Sophia
hides at cousins house; Lady Bellaston and Lord Fellamar; amorous affairs;
Tom lands in prison for attempted murder; saved by discovery that he is son of
Bridget
PLOT - Frank Kermode: the Swiss precision of the plotting,
Fieldings smooth stage-managing of the plot - progressive
accumulation of incident & complication (e.g. final events which bring
about Ts restoration to Allworthys favour and his reconciliation with
Sophia)
Structural design - expresses the neoclassical faith in balance,
proportion - meticulously organized work strongly knit
(architectonic) design of the novel Urban - rural polarity between
sections 1 & 3 attenuated by the middle section which provides
transition the inns - settlements on the road, intermediate in their
sociological openness between a rural and an urban environment +
carry rich symbolic overtones (Canterbury Tales, Don Quixote)
In the 2nd section - on-the-road section: problem posed by the
picaresque looseness of structure and how it could be brought under the
discipline of neoclassical balance -- Solution: stratagem: the CHASE
(at Upton Inn: Sophias pursuit of Tom is reversed)
Delineation of CHARACTER: none of Fieldings characters are
unequivocally black or white:
Life most exactly resembles the stage, since it is often the same person
who represents the villain and the hero; and he who engages your
admiration today, will probably attract your contempt tomorrow (TJ,
VII, 1)
Diversity and ambiguity of human nature: some characters are now
good, now bad (Black George, Mrs Honour, Betty)
Characters may wear masks (even Tom, insists on his faithfulness to
Sophia but easily starts new affairs with Molly Seagrim, Lady
Bellaston) - Tom Jones = a new kind of hero = the unheroic hero
(handsome, brave, generous, yet cannot at all times control his
instincts) comic redefinition of the role of the epic hero
Joness sexual morals (Lady Bellaston, Molly Seagrim) have outraged
many critics [Dr. Johnson: I scarcely know a more corrupt work
Coleridge: I loathe the cant which can recommend Pamela and
Clarissa as strictly moral, though they poison the imagination of the
young with tinct. lyttae, while Tom Jones is prohibited as loose.]
Immense gallery of characters: crowd of innkeepers, landladies,
servants, soldiers - comic epic, offers a wide range of social types of
the age, all presented as permanent human types rather than as unique
individuals
expository method: expounds their behaviour with light-hearted
humour (prefatory essays) - exhibits basic human motives, in the
manner of 17th century comedies of humours and of manners
influenced very much by Cervantes Don Quixote & by the studies of
contemporary morals and manners by William Hogarth (painter)
Wolfgang Iser: technique used by Fielding to guide reader through
labyrinth of text =
technique of contrastive pairs of characters: Tom v. Blifil; Sophia v.
Molly/Jenny Waters/Lady Bellaston, etc
Allworthy: Good, benevolent squire; errors of judgment (unjust expulsion of Tom);
gullible, deceived and misled by Blifil; benevolence and generosity
Western: Illiterate, irascible, impetuous, selfish; caricature, exaggeration of a type:
English country gentleman; violent moods, mock-epic quarrels with his sister,
interested only in hunting and fishing, pride of rural squire
THEORIST of the novel
first novelist to realize the possibilities of the so-called "omniscient narrator" -
prefatory chapters to each of the books of Tom Jones form a conscious part of
Fielding's design for the novel - probably the most important area explored in the
various introductory sections: the theory of the new form of the "heroic, historical,
prosaic poem" that Fielding is attempting to write
Fieldings presence as a narrator who assumes intimacy with the reader, who is
assigned an important active part in the novel - purpose: to draw the reader into an
educative process - instead of preaching his system of moral values, Fielding adopts a
more effective method - having the reader discover it himself (challenges the reader
e.g. book III - READER can then fill vacant spaces of time left uncovered by the
novelist with his own CONJECTURES )
the author: omniscient spectator, comments on everything with curiosity,
tolerance, sense of humour
Fielding claims to be the founder of a new province of writing (TJ, II, 1)
tries to define it in the prefatory chapters to each book of the novel & in the
frequent discussions and asides to the reader within the narrative itself
Fielding self-conscious innovator
PREFATORY/INTRODUCTORY CHAPTERS [introductory Bill of Fare,
initial Essays, digressive Essays, prefatory Chapters] to the 18 books
contain digressions, commentaries on the satire, pastoral, comedy, mock-heroic -
expands upon his own literary methods, on literary criticism, on philosophy -
reflects on classical and contemporary writers: Virgil, Aristotle, Cervantes, Ben
Jonson, Rabelais, Swift, Shaftesbury, Richardson
first chapter of Book I - Extended metaphor: menu metaphor
book as victuals;
AUTHOR = publican ( a gentleman who gives a private or eleemosynary
treat).
patrons pay for what they eat, gratify their palates
CONTENTS Bill of Fare, perused at the entrance === visitors may choose
to stay or depart
PROVISIONS = human nature (prodigious variety, inexhaustible, extensive subject)
- reasserts the Aristotelian doctrine of imitation, stating that his "Bill of Fare" is
"Human Nature," from the lowly servant to the lordly squire Possible objection: ??
common vulgar dish, in every poem, romance, novel, play BUT the cookery of the
author: the excellence of the mental entertainment resides less in the subject than in
the authors skill in well dressing it up
Fielding understands his role as a guide who, not content with taking us behind the
scenes of this great theatre of nature, feels that he must explain everything - ?
diminishes authenticity? breaks the spell of the imaginary world represented in the
novel? interference with narrative illusion?
the novel is converted into a social and a sociable literary form - these
interpolations slow down the pace of the story and create a more reflective tone, but
the author also sets up a comradery between himself and readers
self-conscious prefaces lead the reader out of the real world into the feigned
world of the fiction not Fieldings invention (Congreves preface to Incognita 1692;
Defoe; Swift), yet his unconventional prefaces set a model for other novels
lays down rules for governing his new province of writing; describes the
qualifications for a NOVELIST:
genius, power of invention & judgment - novelist must possess powers
of the mind capable of quick penetration into all things within our reach
(IX)
humanity, genuine feeling: the author must be able to render shared
emotions, tears and laughter (XIII)
competent knowledge of history and literature (IX, XIV) & experience:
first-hand observation: only true source of human nature and manners
(IX)
the ART OF FICTION - the highest subject = human nature with its true
inconsistencies and variations (I, VIII) - actions must be suitable to each
individual character
NEOCLASSICAL THEORY:
Tom Jones (1749) -- "a Representation, or, as Aristotle calls it, an
Imitation of what really exists...."
action of the epic = characterised by 2 elements: verisimilitude & the
marvellous (incongruous concepts) - Introductory chapter to book
VIII: excuses the incredible episodes in Homer: he wrote to heathens,
to whom poetical fables were articles of faith; wishes Homer could
have known and obeyed Horaces rule prescribing that supernatural
agents be produced as little as possible; the novelist must keep
within the limits not only of possibility, but of probability too. Instead
of the marvellous: the surprising - series of coincidences Tom and
Sophia successively meet the same characters along their road to
London, they continually cross each others path on their journey
without meeting. Such devices do not violate verisimilitude so violently
as supernatural interventions common in Homer or Virgil
Book II: HISTORY - Unlike the historian (gives equal consideration to
significant and insignificant details) or the stage-coach (which, empty or full,
performs constantly same course; metaphor writing/reading journey);
Fielding as a writer pursues a contrary method: dwells at large on
extraordinary scenes & hastily dismisses whole years with nothing worthy of
notice ---- dilation and compression of time; expansion and contraction
Book V: dictatorial power of the CRITICS: now masters who give laws to
writers. In the old times: the laws of writing were founded on the practice of
the author not on the dictates of the critic. Men of shallow capacities. Their
rules = arbitrary: curb and restrain genius discusses primacy of writing over
criticism e.g. critics often see shortcomings in a work because they
themselves have not understood it - introductory chapter to Book X - editors of
Shakespeare have often misunderstood or misrepresented him because they
have not recognized his real intentions in a work
