GENERAL INTRODUCTION.

And so we need not trouble ourselves any more either about the insertions or about the exordiums. They both please me; the second class has pleased persons much better worth pleasing than I can pretend to be; but the making or marring of the book lies elsewhere. I do not think that it lies in the construction, though Fielding's following of the ancients, both sincere and satiric, has imposed a false air of regularity upon that. The Odyssey of Joseph, of Fanny, and of their ghostly mentor and bodily guard is, in truth, a little haphazard, and might have been longer or shorter without any discreet man approving it the more or the less therefor. The real merits lie partly in the abounding humour and satire of the artist's criticism, but even more in the marvellous vivacity and fertility of his creation. For the very first time in English prose fiction every character is alive, every incident is capable of having happened. There are lively touches in the Elizabethan romances; but they are buried in verbiage, swathed in stage costume, choked and fettered by their authors' want of art. The quality of Bunyan's knowledge of men was not much inferior to Shakespeare's, or at least to Fielding's; but the range and the results of it were cramped by his single theological purpose, and his unvaried allegoric or typical form. Why Defoe did not discover the New World of Fiction, I at least have never been able to put into any brief critical formula that satisfies me, and I have never seen it put by any one else. He had not only seen it afar off, he had made landings and descents on it; he had carried off and exhibited in triumph natives such as Robinson Crusoe, as Man Friday, as Moll Flanders, as William the Quaker; but he had conquered, subdued, and settled no province therein. I like Pamela; I like it better than some persons who admire Richardson on the whole more than I do, seem to like it. But, as in all its author's work, the handling seems to me academic—the working out on paper of an ingeniously conceived problem rather than the observation or evolution of actual or possible life. I should not greatly fear to push the comparison even into foreign countries; but it is well to observe limits. Let us be content with holding that in England at least, without prejudice to anything further, Fielding was the first to display the qualities of the perfect novelist as distinguished from the romancer.

What are those qualities, as shown in Joseph Andrews? The faculty of arranging a probable and interesting course of action is one, of course, and Fielding showed it here. But I do not think that it is at any time the greatest one; and nobody denies that he made great advances in this direction later. The faculty of lively dialogue is another; and that he has not often been refused; but much the same may be said of it. The interspersing of appropriate description is another; but here also we shall not find him exactly a paragon. It is in character—the chief differentia of the novel as distinguished not merely from its elder sister the romance, and its cousin the drama, but still more from every other kind of literature—that Fielding stands even here pre-eminent. No one that I can think of, except his greatest successor in the present century, has the same unfailing gift of breathing life into every character he creates or borrows; and even Thackeray draws, if I may use the phrase, his characters more in the flat and less in the round than Fielding. Whether in Blifil he once failed, we must discuss hereafter; he has failed nowhere in Joseph Andrews. Some of his sketches may require the caution that they are eighteenth-century men and women; some the warning that they are obviously caricatured, or set in designed profile, or merely sketched. But they are all alive. The finical estimate of Gray (it is a horrid joy to think how perfectly capable Fielding was of having joined in that practical joke of the young gentlemen of Cambridge, which made Gray change his college), while dismissing these light things with patronage, had to admit that "parson Adams is perfectly well, so is Mrs Slipslop." "They were, Mr Gray," said some one once, "they were more perfectly well, and in a higher kind, than anything you ever did; though you were a pretty workman too."