Part 10 (1/2)
[1] These are in the Burney Collection, and are inscribed ”These papers are by the celebrated Henry Fielding Esqre.”
[2] See the _Gentleman's Magazine_. Dec. 1747.
[3] _A Free Comment on the Late Mr. W-G-N's Apology ... By a Lady ..._ 1748.
[4] _The Patriot a.n.a.lized_. 1748.
[5] _True Patriot No. 14_.
[6] _True Patriot_. No. 29. May 20, 1746.
[7] R. Cobbett. _Memorials of Twickenham_, 1872.
[8] The _Journal's_ epitaph was promptly written by a scurrilous opponent in lines showing that the prominences of Fielding's profile were well-known:
Beneath this stone Lies _Trott Plaid John_ His length of chin and nose.
See the _Gentleman's Magazine_, November 1748.
CHAPTER XI
TOM JONES
”In G.o.d's Name let us speak out honestly and set the good against the bad.”
No. 48 of the _Jacobite's Journal_.
The two years of Fielding's life preceding his appointment as a Bow Street magistrate (an appointment comparable only to the choice of Robert Burns as an exciseman) were marked, as we have seen, by lively pa.s.sages in the political arena, and a steady output of political journalism. Indeed, by this time, the public must have a.s.sociated swingeing denunciations of Jacobites, and glowing eulogies of the British Const.i.tution, with Harry Fielding's name; just as seven years previously he had been in their eyes the 'Champion' journalist of a brilliant Opposition; and, for ten years before that, the witty writer of a stream of popular farces and comedies.
For there is no evidence that his audacious innovation, his splendid adventure in literature, _Joseph Andrews_, really revealed the existence of a new genius in their midst to the Whigs and Tories of those factious days, to the gay frequenters of the play-house, to the barristers at Westminster Hall and on the Western Circuit. In 1748 Fielding must have been, to his many audiences, a witty and well-born man of letters who, at forty-one, had as yet achieved no towering success; a facile dramatist; and a master of slas.h.i.+ng political invective, growing perplexingly impartial, alike in his praise and his condemnation. While, as regards outward circ.u.mstances, the struggling barrister, baffled in his professional hopes by persistent attacks of gout, was now so far enlisted, to use his own fine image, under the black banner of poverty, that even the small post and hard duties of a Bow Street magistrate were worth his acceptance. [1]
Such was Harry Fielding as the world of 1748 knew him, in the Coffee houses, the Mall, the Green-room and the Law-courts. What that world did not know was that all this dramatic, journalistic, and political action, was little more than the surface movement of a vitality far too exuberant to be contained in any one groove of hackney writing,--of an impetuous 'enthusiasm for righteousness' far too ardent to pa.s.s by any flagrant social, moral, or political abuse without inflicting some form of chastis.e.m.e.nt; and that beneath this ever active surface movement Fielding's genius was slowly maturing in that new continent of literature the borders of which he had already crossed seven years before. In the pages of _Joseph Andrews_, he had, as we know, tentatively explored that continent feeling his way along the unknown paths of this long neglected world of human nature; bringing back with him one immortal figure, that living embodiment of simple piety and scholars.h.i.+p, of charity and honest strength, Parson Adams; disclosing hints of discoveries, not yet perfected, among the humours and villanies, the virtues and charms, of a dozen other inhabitants of his _terra incognita_. But there is no sign that the greatness of his discovery, the splendour of his addition to the empire of English literature, was in the least apprehended during the seven years following the appearance of _Joseph Andrews_. Only Fielding himself was conscious that he had created a kind of writing ”hitherto unattempted in our language.”
And, having crossed the borders of this new continent, he seems, after his first survey, to have deliberately immersed himself in one portion, and that the blackest, of his re-discovered world. For _Jonathan Wild_, with its disclosure of the active spirit of 'diabolism,' of naked vice, is little else than the exploration of those darkest recesses of human nature which can be safely entered only by the sanest and healthiest of intellects. Fielding's strength was equal to his exploit; and from this, his second adventure, he brought back a picture of the deformity and folly of vice, drawn with a just and penetrating scorn unequalled, perhaps, by any English moralist. But neither of these two essays in the new field of writing had covered more than isolated or outlying portions, the first in sunlight, the second in shadow, of that vast territory. And it was not till the perfect maturity of his powers and of his experience, not till he had seen both the 'manners of many men,' and the workings of many hearts, not in a word till he had made himself master of great tracts of that human nature which had so long lain neglected, that Fielding in _Tom Jones_ disclosed himself as the creator of the English novel.
Little is known as to when the conception of _Tom Jones_ first shaped itself in his mind, of where he lived during the writing of the great Comic Epic, or of the time occupied in its completion. Appropriately for a book expressly designed ”to recommend goodness and innocence” the plan of the novel was suggested, many years before its appearance, by the 'good Lord Lyttelton'; and we know, further, that the writing occupied 'some thousands of hours'; but _Tom Jones_ does not emerge into definite existence till the summer of 1748.
Legend it is true, attesting to the greatness of the achievement contained in the six little volumes, endows many localities with the fame of their origin. A well-credited contemporary writer, the Rev. Richard Graves, declared that the novelist ”while he was writing his novel of Tom Jones”
lived at Tiverton (Twerton), one and a half miles from Bath, and dined daily at Prior Park the seat of his munificent and pious friend Ralph Allen. Mr Graves says that Fielding then lived in ”the first house on the right hand with a spread eagle over the door.” [2] Salisbury is insistent that part at least of the great novel was written at Milford House, near to that city. An anonymous old engraver a.s.serts the same honour for Fielding's Farm at East Stour, an a.s.sertion certainly not confirmed by the newly found doc.u.ments concerning Fielding's sale of property at Stour in 1738. Twickenham claims that the book was wholly composed in the house in Back Lane. And to an ancient building at Tintern Parva in the Wye Valley, said to have once been the lodging of the Abbot of Tintern, was also a.s.signed the reputation of being the birthplace of the English novel. If the latter tradition were true, the fact that it was in the Harlequin chamber of the Abbots of Glas...o...b..ry that Henry Fielding was born, becomes strangely matched by the birth, some forty years later, of his masterpiece, in the lodging of the Abbot of Tintern. The one point of real interest in all these traditions is the fact that the fame of _Tom Jones_ has been sufficient to create a widespread popular legend. The truth probably is that the book was written in the many s.h.i.+fting scenes of Fielding's life during these years; now at Bath whither his gout and the generous hospitality of Ralph Allen would take him; now in Salisbury, the home of his boyhood, and the scene of his courts.h.i.+p with the lovely original of Sophia Western; possibly in his own county of Somerset; and most probably both at Twickenham, and in London.
From these various legends it is pleasant to be able to disentangle one clear picture of the making of _Tom Jones_. Before the ma.n.u.script was placed in the printers' hands Fielding submitted it to the opinion both of the elder Pitt, and of the estimable and pious Lyttelton; and the account of this memorable meeting cannot be better given than in the words of a descendant of the hostess on that occasion, the Rev. George Miller, great-grandson of that Sanderson Miller of Radway, Warwicks.h.i.+re, who numbered many men of note among his acquaintance, and with whom Fielding was on terms of intimate friends.h.i.+p. [3] Writing to the present writer, in 1907, Mr. Miller says: ”Lord Chatham and Lord Lyttleton came to Radway to visit my ancestor, when Lord Chatham planted three trees to commemorate the visit, and a stone urn was placed between them. Fielding was also of the party and read 'Tom Jones' in ma.n.u.script after dinner for the opinion of his hearers before publis.h.i.+ng it. My father told me this often and he had the account from his Grandmother who survived her husband several years and who was the hostess on the occasion.” Unhappily no record exists of the comments of one of the greatest of English statesmen when listening to this reading, in ma.n.u.script, of indubitably one of the greatest of English novels.
The vagueness which hangs over the places in which _Tom Jones_ was written, the certainty that in all of them poverty was constantly present, is in perfect accord with the power of detachment manifested in this book from circ.u.mstances that would surely have tinged, if not over-whelmed, a weaker genius. Sickness and poverty are stern sponsors; but neither were suffered to leave more than two traces on the pages destined to outlive so greatly the harsh circ.u.mstances in which they had birth. There is the frank acknowledgement of the writer's dependence on Lyttelton's n.o.ble generosity, without which the book had never, Fielding says, been completed, since ”I partly owe to you my Existence during great Part of the Time which I have employed in composing it.” And a touching betrayal occurs of his anxiety for the future provision of the ”prattling babes, whose innocent play hath often been interrupted by my labours.” Fielding was sensitively anxious for his wife and children; but, for himself, living as he did with visions such as that of the _Invocation_ introducing Book xiii of _Tom Jones_, the precise situation of his ”little Parlour,”
or the poorness of its furniture, cannot have appeared very material.
”Come bright Love of Fame,” he cries ”... fill my ravished Fancy with the Hopes of charming Ages yet to come... Do thou teach me not only to foresee, but to enjoy, nay, even to feed on future Praise. Comfort me by a solemn a.s.surance, that when the little Parlour in which I sit at this Instant, shall be reduced to a worse furnished Box, I shall be read, with Honour, by those who never knew nor saw me, and whom I shall neither know nor see.”
This capacity of Fielding for relegating circ.u.mstance to its true level, the detached idealism that moulded his genius, are, indeed, shown once for all in the fact that the exquisite picture of virtue, the whole-hearted attack on vice, the genial humour, the sunny portraits of humanity, the splendid cheerfulness of _Tom Jones_, that 'Epic of Youth,' came from a man in middle age, immersed in disheartening struggles, and fighting recurrent ill health. Superficial critics have called Fielding a realist because his figures are so full-blooded and alive that we feel we have met them but yesterday in the street; to eyes so shortsighted life itself must seem merely realistic. As none but an idealist could have conceived Parson Adams, so the creator of Sophia again announced himself an idealist in the Dedication of _Tom Jones_. Here, in language of pure symbolism, he contends that the ideal virtues such as goodness and innocence, may most effectively be presented to men in a figure, for ”an Example is a Kind of Picture, in which Virtue becomes as it were an Object of Sight, and strikes us with an Idea of that Loveliness, which _Plato_ a.s.serts there is in her naked Charms.” [4] To the man who could write thus, and, who, in later pages of his great 'Epic,' could humbly desire of Genius ”do thou kindly take me by the Hand, and lead me through all the Mazes, the winding Labyrinth of Nature. Initiate me into all those Mysteries which profane Eyes never beheld,”--to this man the material surroundings of life must have seemed of little greater import than the fittings of that narrow box to the occupation of which he looked forward with so calm a foresight.
Indeed he himself acknowledges a carelessness of outward comfort on his own behalf. ”Come,” he cries, to the spirit of mercenary success, ”Thou jolly Substance, with thy s.h.i.+ning Face, ... hold forth thy tempting Rewards; thy s.h.i.+ning c.h.i.n.king Heap; thy quickly-convertible Bank-bill, big with unseen Riches; thy often-varying Stock; the warm, the comfortable House; ... Come thou, and if I am too tasteless of thy valuable Treasures, warm my Heart with the transporting Thought of conveying them to others.”
His happy const.i.tution, wrote his cousin Lady Mary, ”made him forget everything when he was before a venison pasty or a flask of champagne”; but behind those healthy exhilarations was, a.s.suredly, a serenity based on a clear perception of the values of life. To a man of Fielding's happy social temperament, and who was yet also initiated into mysteries and occupied in converting ideal loveliness into 'an object of sight,' such matters as duns and p.a.w.nbrokers would seem precisely fit for oblivion in venison and champagne. In the creator of Tom Jones and of Sophia the most indestructible delight in living, and the keenest discernment of the unsubstantial qualities of that delight, appear to have been admirably interwoven.
By June 11, 1748, the book was far enough advanced for the publisher, Andrew Millar, to pay 600 for it, as appears from a receipt now in the possession of Mr. Alfred Huth. [5] And it is eminently characteristic of the finances of a man who, as Lady Mary said, would have wanted money had his estates been as extensive as his imagination, that the receipt for this 600 is dated more than six months before the publication of the book. For it was not till February 28, 1749, that the _General Advertiser_ announced