Richardson now turned from his middle-class heroines, and in five or six years completed another series of letters, in which he attempted to tell the story of a man and an aristocrat. The result was Sir Charles Grandison (1754), a novel in seven volumes, whose hero was intended to be a model of aristocratic manners and virtues for the middle-class people, who largely constituted the novelist's readers. For Richardson, who began in Pamela with the purpose of teaching his hearers how to write, ended with the deliberate purpose of teaching them how to live; and in most of his work his chief object was, in his own words, to inculcate virtue and good deportment. His novels, therefore, suffer as much from his purpose as from his own limitations. Notwithstanding his tedious moralizing and his other defects, Richardson in these three books gave something entirely new to the literary world, and the world appreciated the gift. This was the story of human life, told from within, and depending for its interest not on incident or adventure, but on its truth to human nature. Reading his work is, on the whole, like examining the antiquated model of a stern-wheel steamer; it is interesting for its undeveloped possibilities rather than for its achievement.
[HENRY FIELDING] (1707-1754)
Life. Judged by his ability alone, Fielding was the greatest of this new group of novel writers, and one of the most artistic that our literature has produced. He was born in East Stour, Dorsetshire, in 1707. In contrast with Richardson, he was well educated, having spent several years at the famous Eton school, and taken a degree in letters at the University of Leyden in 1728. Moreover, he had a deeper knowledge of life, gained from his own varied and sometimes riotous experience. For several years after returning from Leyden he gained a precarious living by writing plays, farces, and buffoneries for the stage. In 1735 he married an admirable woman, of whom we have glimpses in two of his characters, Amelia, and Sophia Western, and lived extravagantly on her little fortune at East Stour. Having used up all his money, he returned to London and studied law, gaining his living by occasional plays and by newspaper work. For ten years, or more, little is definitely known of him, save that he published his first novel, Joseph Andrews, in 1742, and that he was made justice of the peace for Westminster in 1748. The remaining years of his life, in which his best novels were written, were not given to literature, but rather to his duties as magistrate, and especially to breaking up the gangs of thieves and cutthroats which infested the streets of London after nightfall. He died in Lisbon, whither he had gone for his health, in 1754, and lies buried there in the English cemetery. The pathetic account of this last journey, together with an inkling of the generosity and kind-heartedness of the man, notwithstanding the scandals and irregularities of his life, are found in his last work, the Journal of a Voyage to Lisbon.
Fielding's Work. Fielding's first novel, Joseph Andrews (1742), was inspired by the success of Pamela, and began as a burlesque of the false sentimentality and the conventional virtues of Richardson's heroine. He took for his hero the alleged brother of Pamela, who was exposed to the same kind of temptations, but who, instead of being rewarded for his virtue, was unceremoniously turned out of doors by his mistress. There the burlesque ends; the hero takes to the open road, and Fielding forgets all about Pamela in telling the adventures of Joseph and his companion, Parson Adams. Unlike Richardson, who has no humor, who minces words, and moralizes, and dotes on the sentimental woes of his heroines, Fielding is direct, vigorous, hilarious, and coarse to the point of vulgarity. He is full of animal spirits, and he tells the story of a vagabond life, not for the sake of moralizing, like Richardson, or for emphasizing a forced repentance, like Defoe, but simply because it interests him, and his only concern is "to laugh men out of their follies." So his story, though it abounds in unpleasant incidents, generally leaves the reader with the strong impression of reality.
Fielding's later novels are Jonathan Wild, the story of a rogue, which suggests Defoe's narrative; The History of Tom Jones, a Foundling (1749), his best work; and Amelia (1751), the story of a good wife in contrast with an unworthy husband. His strength in all these works is in the vigorous but coarse figures, like those of Jan Steen's pictures, which fill most of his pages; his weakness is in lack of taste, and in barrenness of imagination or invention, which leads him to repeat his plots and incidents with slight variations. In all his work sincerity is perhaps the most marked characteristic. Fielding likes virile men, just as they are, good and bad, but detests shams of every sort. His satire has none of Swift's bitterness, but is subtle as that of Chaucer, and good-natured as that of Steele. He never moralizes, though some of his powerfully drawn scenes suggest a deeper moral lesson than anything in Defoe or Richardson; and he never judges even the worst of his characters without remembering his own frailty and tempering justice with mercy. On the whole, though much of his work is perhaps in bad taste and is too coarse for pleasant or profitable reading, Fielding must be regarded as an artist, a very great artist, in realistic fiction; and the advanced student who reads him will probably concur in the judgment of a modern critic that, by giving us genuine pictures of men and women of his own age, without moralizing over their vices and virtues, he became the real founder of the modern novel.
Tobias Smollett (1721-1771) apparently tried to carry on Fielding's work; but he lacked Fielding's genius, as well as his humor and inherent kindness, and so crowded his pages with the horrors and brutalities which are sometimes mistaken for realism. Smollett was a physician, of eccentric manners and ferocious instincts, who developed his unnatural peculiarities by going as a surgeon on a battleship, where he seems to have picked up all the evils of the navy and of the medical profession to use later in his novels.
Smollett's NovelsHis three best known works are Roderick Random (1748), a series of adventures related by the hero; Peregrine Pickle (1751) in which he reflects with brutal directness the worst of his experiences at sea; and Humphrey Clinker (1771), his last work, recounting the mild adventures of a Welsh family in a journey through England and Scotland. This last alone can be generally read without arousing the readers profound disgust. Without any particular ability, he models his novels on Don Quixote, and the result is simply a series of coarse adventures which are characteristic of the picaresque novel of his age. Were it not for the fact that he unconsciously imitates Jonson's Every Man in His Humour, he would hardly be named among our writers of fiction; but in seizing upon some grotesque habit or peculiarity and making a character out of it--such as Commodore Trunnion in Peregrine Pickle, Matthew Bramble in Humphrey Clinker, and Bowling in Roderick Random--he laid the foundation for that exaggeration in portraying human eccentricities which finds a climax in Dickens's caricatures.
Lawrence Sterne (1713-1768) has been compared to a "little bronze satyr of antiquity in whose hollow body exquisite odors were stored." That is true, so far as the satyr is concerned; for a more weazened, unlovely personality would be hard to find. The only question in the comparison is in regard to the character of the odors, and that is a matter of taste. In his work he is the reverse of Smollett, the latter being given over to coarse vulgarities, which are often mistaken for realism; the former to whims and vagaries and sentimental tears, which frequently only disguise a sneer at human grief and pity.
Sterne's WorkThe two books by which Sterne is remembered are Tristram Shandy and A Sentimental Journey through France and Italy. These are termed novels for the simple reason that we know not what else to call them. The former was begun, in his own words, "with no real idea of how it was to turn out"; its nine volumes, published at intervals from 1760 to 1767, proceeded in the most aimless way, recording the experiences of the eccentric Shandy family; and the book was never finished. Its strength lies chiefly in its brilliant style, the most remarkable of the age, and in its odd characters, like Uncle Toby and Corporal Trim, which, with all their eccentricities, are so humanized by the author's genius that they belong among the great "creations" of our literature. The Sentimental Journey is a curious combination of fiction, sketches of travel, miscellaneous essays on odd subjects,--all marked by the same brilliancy of style, and all stamped with Sterne's false attitude towards everything in life. Many of its best passages were either adapted or taken bodily from Burton, Rabelais, and a score of other writers; so that, in reading Sterne, one is never quite sure how much is his own work, though the mark of his grotesque genius is on every page.