The author of Pamela, Samuel Richardson (1689—1761), was a very proper person, well satisfied with himself, who conducted a modest business as printer and bookseller. For years he had practiced writing, and had often been employed by sentimental young women who came to him for model love letters. Hence the extraordinary knowledge of feminine feelings which Richardson displayed; hence also the epistolary form in which his novels were written. His aim in all his work was to teach morality and correct deportment. His strength was in his power to analyze and portray emotions. His weakness lay in his vanity, which led him to shun masculine society and to foregather at tea tables with women who flattered him.
Led by the success of Pamela, which portrayed the feelings of a servant girl, the author began another series of letters which ended in the eight-volume novel Clarissa, or The History of a Young Lady (1748). The story appeared in installments, which were awaited with feverish impatience till the agony drew to an end, and the heroine died amid the sobs of ten thousand readers. Yet the story had power, and the central figure of Clarissa was impressive in its pathos and tragedy. The novel would still be readable if it were stripped of the stilted conversations and sentimental gush in which Richardson delighted; but that would leave precious little of the story.
FIELDING. In vigorous contrast with the prim and priggish Richardson is Henry Fielding (1707-1754), a big, jovial, reckless man, full of animal spirits, who was ready to mitigate any man's troubles or forget his own by means of a punch bowl or a venison potpie. He was noble born, but seems to have been thrown on the world to shift for himself. After an excellent education he studied law, and was for some years a police magistrate, in which position he increased his large knowledge of the seamy side of life. He had a pen for vigorous writing, and after squandering two modest fortunes (his own and his wife's) he proceeded to earn his living by writing buffooneries for the stage. Then appeared Richardson's Pamela, or Virtue Rewarded, and in ridiculing its sentimental heroine Fielding found his vocation as a novelist.
[Sidenote: BURLESQUE OF RICHARDSON]
He began Joseph Andrews (1742) as a joke, by taking for his hero an alleged brother of Pamela, who was also virtuous but whose reward was to be kicked out of doors. Then the story took to the open road, among the inns and highways of an age when traveling in rural England was almost as adventurous as campaigning in Flanders. In the joy of his story Fielding soon forgot his burlesque of Richardson, and attempted what he called a realistic novel; that is, a story of real life. The morality and decorum which Richardson exalted appeared to Fielding as hypocrisy; so he devoted himself to a portrayal of men and manners as he found them.
Undoubtedly there were plenty of good men and manners at that time, but Fielding had a vagabond taste that delighted in rough scenes, and of these also eighteenth-century England could furnish an abundance. Hence his Joseph Andrews is a picture not of English society, as is often alleged, but only of the least significant part of society. The same is true of Tom Jones (1749), which is the author's most vigorous work, and of Amelia (1751), in which, though he portrays one good woman, he repeats many of the questionable incidents of his earlier works.
There is power in all these novels, the power of keen observation, of rough humor, of downright sincerity; but unhappily the power often runs to waste in long speeches to the reader, in descriptions of brutal or degrading scenes, and in a wholly unnecessary coarseness of expression.
INFLUENCE OF THE EARLY NOVELS. The idea of the modern novel seems to have been developed by several English authors, each of whom, like pioneers in a new country, left his stamp on subsequent works in the same field. Richardson's governing motive may be summed up in the word "sensibility," which means "delicacy of feeling," and which was a fashion, almost a fetish, in eighteenth-century society. Because it was deemed essential to display proper or decorous feeling on all occasions, Richardson's heroines were always analyzing their emotions; they talked like a book of etiquette; they indulged in tears, fainting, transports of joy, paroxysms of grief, apparently striving to make themselves as unlike a real woman as possible. It is astonishing how far and wide this fad of sensibility spread through the literary world, and how many gushing heroines of English and American fiction during the next seventy-five years were modeled on Pamela or Clarissa.
In view of this artificial fashion, the influence of Fielding was like the rush of crisp air into a hot house. His aim was realistic, that is, to portray real people in their accustomed ways. Unfortunately his aim was spoiled by the idea that to be realistic one must go to the gutter for material. And then appeared Goldsmith, too much influenced by the fad of sensibility, but aiming to depict human life as governed by high ideals, and helping to cleanse the English novel from brutality and indecency.
[Sidenote: THREEFOLD INFLUENCE]