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September 7, xxxx
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are by no means particularly comic and who are sometimes very particularly vulgar. But of tragedy positive, in the bourgeois kind, he had no small command, and in the middle business--in affairs neither definitely comic nor definitely tragic--he was wonderfully prolific and facile. His immense and heart?breaking lengthiness is not mere verbosity: it comes partly from the artist's natural delight in a true and newly found method, partly from a still more respectably artistic desire not to do the work negligently. As for the unhealthiness of atmosphere which has been generally and not unjustly charged upon him, it is, in part, no doubt the result of imperfect temperament and breeding: but it is also as closely connected with his very method as are the merits thereof. You cannot "consider so curiously" without considering too curiously. The drawbacks of his work are obvious, and they were likely to be, and were, exaggerated. But they might be avoided and the merits kept: nor is it too much to say that the triumphs of the English novel in the last century have been not a little due to the avoidance
of the one and the keeping of the other. It would be, in the circumstances, peculiarly uncivil and disobliging to lay very much stress on the fact that, after all, the greatest of Richardson's works is his successor, caricaturist, and superior--Fielding. When the memoirs of Miss Pamela Andrews appeared, the future biographer of her doubly supposititious brother was a not very young man of thirty?three, who had written a good many not very good plays, had contributed to periodicals, and had done a little work at the Bar, besides living, at least till his marriage and it may be feared later, an exceedingly "rackety" life. It is not improbable, though it is not certain, that he had already turned his attention to prose fiction of a kind. For, though the Miscellanies which followed Joseph Andrews were three years later than Pamela in appearance, the Journey from this World to the Next which they contain has the immaturity of earliness; and we can hardly conceive it as written after the adventures and character of Mr. Abraham Adams. It is unequal, rather tedious in parts, and in conception merely a
pastiche of Lucian and Fontenelle: but it contains some remarkable things in the way of shrewd satirical observation of human nature. And the very fact that it is a following of something else is interesting, in connection with the infinitely more important work that preceded it in publication, The Adventures of Joseph Andrews and his Friend Mr. Abraham Adams (xxxx). Nobody has ever had much difficulty in accounting for the way in which Fielding availed himself of the appearance and popularity of Pamela. And though Richardson would have been superhuman instead of very human indeed (with an ordinary British middle?class humanity, and an extraordinary vein of genius) if he had done otherwise, few have joined him in thinking Joseph a "lewd and ungenerous engraftment." We have not ourselves been very severe on the faults of Pamela, the reason of lenity being, among other things, that it in a manner produced Fielding, and all the fair herd of his successors down to the present day. But those faults are glaring: and they were of a kind specially likely to attract the notice and the censure of a genial,
wholesome, and, above all, masculine taste and intellect like Fielding's. Even at that time, libertine as it was in some ways, and sentimental as it was in others, people had not failed to notice that Pamela's virtue is not quite what was then called "neat" wine--the pure and unadulterated juice of the grape. The longueurs and the fiddle?faddle, the shameless and fulsome preface?advertisements and the rest lay open enough to censure. So Fielding saw the handles, and gripped them at once by starting a male Pamela--a situation not only offering "most excellent differences," but in itself possessing, to graceless humanity at all times it may be feared, and at that The English Novel 38 time perhaps specially, something essentially ludicrous in minor points. At first he kept the parody very close: though the necessary transposition of the parts afforded opportunity (amply taken) for display of character and knowledge of nature superior to Richardson's own. Later the general opinion is that he, especially inspirited by his trouvaille of Adams, almost forgot the parody, and only furbished up the Pamela