“Time for us to go,
Time for us to go,
And when we’d got the hatches down,
’Twas time for us to go!”
Roderick, apart from “black ivory,” is aided by his uncle and his long lost father. The base world, in the persons of Strap, Thompson, the uncle, Mr. Sagely, and other people, treats him infinitely better than he deserves. His very love (as always in Smollett) is only an animal appetite, vigorously insisted upon by the author. By a natural reaction, Scott, much as he admired Smollett, introduced his own blameless heroes, and even Thackeray could only hint at the defects of youth, in “Esmond.” Thackeray is accused of making his good people stupid, or too simple, or eccentric, and otherwise contemptible. Smollett went further: Strap, a model of benevolence, is ludicrous and a coward; even Bowling has the stage eccentricities of the sailor. Mankind was certain, in the long run, to demand heroes more amiable and worthy of respect. Our inclinations, as Scott says, are with “the open-hearted, good-humoured, and noble-minded Tom Jones, whose libertinism (one particular omitted) is perhaps rendered but too amiable by his good qualities.” To be sure Roderick does befriend “a reclaimed street-walker” in her worst need, but why make her the confidante of the virginal Narcissa? Why reward Strap with her hand? Fielding decidedly, as Scott insists, “places before us heroes, and especially heroines, of a much higher as well as more pleasing character, than Smollett was able to present.”
“But the deep and fertile genius of Smollett afforded resources sufficient to make up for these deficiencies . . . If Fielding had superior taste, the palm of more brilliancy of genius, more inexhaustible richness of invention, must in justice be awarded to Smollett. In comparison with his sphere, that in which Fielding walked was limited . . . ” The second part of Scott’s parallel between the men whom he considered the greatest of our novelists, qualifies the first. Smollett’s invention was not richer than Fielding’s, but the sphere in which he walked, the circle of his experience, was much wider. One division of life they knew about equally well, the category of rakes, adventurers, card-sharpers, unhappy authors, people of the stage, and ladies without reputations, in every degree. There were conditions of higher society, of English rural society, and of clerical society, which Fielding, by birth and education, knew much better than Smollett. But Smollett had the advantage of his early years in Scotland, then as little known as Japan; with the “nautical multitude,” from captain to loblolly boy, he was intimately familiar; with the West Indies he was acquainted; and he later resided in Paris, and travelled in Flanders, so that he had more experience, certainly, if not more invention, than Fielding.
In “Roderick Random” he used Scottish “local colour” very little, but his life had furnished him with a surprising wealth of “strange experiences.” Inns were, we must believe, the favourite home of adventures, and Smollett could ring endless changes on mistakes about bedrooms. None of them is so innocently diverting as the affair of Mr. Pickwick and the lady in yellow curl-papers; but the absence of that innocence which heightens Mr. Pickwick’s distresses was welcome to admirers of what Lady Mary Wortley Montagu calls “gay reading.”
She wrote from abroad, in 1752, “There is something humorous in R. Random, that makes me believe that the author is H. Fielding”—her kinsman. Her ladyship did her cousin little justice. She did not complain of the morals of “R. Random,” but thought “Pamela” and “Clarissa” “likely to do more general mischief than the works of Lord Rochester.” Probably “R. Random” did little harm. His career is too obviously ideal. Too many ups and downs occur to him, and few orphans of merit could set before themselves the ideal of bilking their tailors, gambling by way of a profession, dealing in the slave trade, and wheedling heiresses.
The variety of character in the book is vast; in Morgan we have an excellent, fiery, Welshman, of the stage type; the different minor miscreants are all vividly designed; the eccentric lady author may have had a real original; Miss Snapper has much vivacity as a wit; the French adventures in the army are, in their rude barbaric way, a forecast of Barry Lyndon’s; and, generally, both Scott and Thackeray owe a good deal to Smollett in the way of suggestions. Smollett’s extraordinary love of dilating on noisome smells and noisome sights, that intense affection for the physically nauseous, which he shared with Swift, is rather less marked in “Roderick” than in “Humphrey Clinker,” and “The Adventures of an Atom.” The scenes in the Marshalsea must have been familiar to Dickens. The terrible history of Miss Williams is Hogarth’s Harlot’s Progress done into unsparing prose. Smollett guides us at a brisk pace through the shady and brutal side of the eighteenth century; his vivacity is as unflagging as that of his disagreeable rattle of a hero. The passion usually understood as love is, to be sure, one of which he seems to have no conception; he regards a woman much as a greedy person might regard a sirloin of beef, or, at least, a plate of ortolans. At her marriage a bride is “dished up;” that is all.
Thus this “gay writing” no longer makes us gay. In reading “Peregrine Pickle” and “Humphrey Clinker,” a man may find himself laughing aloud, but hardly in reading “Roderick Random.” The fun is of the cruel primitive sort, arising merely from the contemplation of somebody’s painful discomfiture. Bowling and Rattlin may be regarded with affectionate respect; but Roderick has only physical courage and vivacity to recommend him. Whether Smollett, in Flaubert’s deliberate way, purposely abstained from moralising on the many scenes of physical distress which he painted; or whether he merely regarded them without emotion, has been debated. It seems more probable that he thought they carried their own moral. It is the most sympathetic touch in Roderick’s character, that he writes thus of his miserable crew of slaves: “Our ship being freed from the disagreeable lading of negroes, to whom indeed I had been a miserable slave since our leaving the coast of Guinea, I began to enjoy myself.” Smollett was a physician, and had the pitifulness of his profession; though we see how casually he makes Random touch on his own unwonted benevolence.
People had not begun to know the extent of their own brutality in the slave trade, but Smollett probably did know it. If a curious prophetic letter attributed to him, and published more than twenty years after his death, be genuine; he had the strongest opinions about this form of commercial enterprise. But he did not wear his heart on his sleeve, where he wore his irritable nervous system. It is probable enough that he felt for the victims of poverty, neglect, and oppression (despite his remarks on hospitals) as keenly as Dickens. We might regard his offensively ungrateful Roderick as a purely dramatic exhibition of a young man, if his other heroes were not as bad, or worse; if their few redeeming qualities were not stuck on in patches; and if he had omitted his remark about Roderick’s “modest merit.” On the other hand, the good side of Matthew Bramble seems to be drawn from Smollett’s own character, and, if that be the case, he can have had little sympathy with his own humorous Barry Lyndons. Scott and Thackeray leaned to the favourable view: Smollett, his nervous system apart, was manly and kindly.
As regards plot, “Roderick Random” is a mere string of picturesque adventures. It is at the opposite pole from “Tom Jones” in the matter of construction. There is no reason why it should ever stop except the convenience of printers and binders. Perhaps we lay too much stress on the somewhat mechanical art of plot-building. Fielding was then setting the first and best English example of a craft in which the very greatest authors have been weak, or of which they were careless. Smollett was always rather more incapable, or rather more indifferent, in plot-weaving, than greater men.
In our day of royalties, and gossip about the gains of authors, it would be interesting to know what manner and size of a cheque Smollett received from his publisher, the celebrated Mr. Osborne. We do not know, but Smollett published his next novel “on commission,” “printed for the Author”; so probably he was not well satisfied with the pecuniary result of “Roderick Random.” Thereby, says Dr. Moore, he “acquired much more reputation than money.” So he now published “The Regicide” “by subscription, that method of publication being then more reputable than it has been thought since” (1797). Of “The Regicide,” and its unlucky preface, enough, or more, has been said. The public sided with the managers, not with the meritorious orphan.