The English Humourists of the Eighteenth Century/Hogarth, Smollett and Fielding

by William Makepeace Thackeray

LECTURE THE FIFTH.

HOGARTH, SMOLLETT, AND FIELDING.

I suppose as long as novels last and authors aim at interesting their public, there must always be in the story a virtuous and gallant hero, a wicked monster his opposite, and a pretty girl who finds a champion; bravery and virtue conquer beauty: and vice, after seeming to triumph through a certain number of pages, is sure to be discomfited in the last volume, when justice overtakes him and honest folks come by their own. There never was perhaps a greatly popular story but this simple plot was carried through it: mere satiric wit is addressed to a class of readers and thinkers quite different to those simple souls who laugh and weep over the novel. I fancy very few ladies indeed, for instance, could be brought to like "Gulliver" heartily, and (putting the coarseness and difference of manners out of the question) to relish the wonderful satire of "Jonathan Wild." In that strange apologue, the author takes for a hero the greatest rascal, coward, traitor, tyrant, hypocrite, that his wit and experience, both large in this matter, could enable him to devise or depict; he accompanies this villain through all the actions of his life, with a grinning deference and a wonderful mock respect: and doesn't leave him, till he is dangling at the gallows, when the satirist makes him a low bow and wishes the scoundrel good day.

It was not by satire of this sort, or by scorn and contempt, that Hogarth achieved his vast popularity and acquired his reputation.^[1] His art is quite simple,^[2] he speaks popular parables to interest simple hearts and to inspire them with pleasure or pity or warning and terror. Not one of his tales but is as easy as "Goody Two Shoes;" it is the moral of Tommy was a naughty boy and the master flogged him, and Jacky was a good boy and had plum cake, which pervades the whole works of the homely and famous English moralist. And if the moral is written in rather too large letters after the fable, we must remember how simple the scholars and schoolmaster both were, and like neither the less because they are so artless and honest. "It was a maxim of Dr. Harrison's," Fielding says in "Amelia," speaking of the benevolent divine and philosopher who represents the good principle in that novel—"that no man can descend below himself, in doing any act which may contribute to protect an innocent person, or to bring a rogue to the gallows." The moralists of that age had no compunction you see; they had not begun to be sceptical about the theory of punishment, and thought that the hanging of a thief was a spectacle for edification. Masters sent their apprentices, fathers took their children, to see Jack Sheppard or Jonathan Wild hanged, and it was as undoubting subscribers to this moral law, that Fielding wrote and Hogarth painted. Except in one instance, where in the mad-house scene in the "Rake's Progress," the girl whom he has ruined is represented as still tending and weeping over him in his insanity, a glimpse of pity for his rogues never seems to enter honest Hogarth's mind. There's not the slightest doubt in the breast of the jolly Draco.

The famous set of pictures called "Marriage à la Mode," and which are exhibited at Marlborough House, in London, contains the most important and highly wrought of the Hogarth comedies. The care and method with which the moral grounds of these pictures are laid is as remarkable as the wit and skill of the observing and dexterous artist. He has to describe the negotiations for a marriage pending between the daughter of a rich citizen Alderman and young Lord Viscount Squanderfield, the dissipated son of a gouty old Earl. Pride and pomposity appear in every accessory surrounding the Earl. He sits in gold lace and velvet—as how should such an Earl wear anything but velvet and gold lace? His coronet is everywhere: on his footstool on which reposes one gouty toe turned out; on the sconces and looking-glasses; on the dogs; on his lordship's very crutches; on his great chair of state and the great baldaquin behind him; under which he sits pointing majestically to his pedigree, which shows that his race is sprung from the loins of William the Conqueror, and confronting the old Alderman from the City, who has mounted his sword for the occasion, and wears his Alderman's chain, and has brought a bag full of money, mortgage deeds, and thousand pound notes, for the arrangement of the transaction pending between them. Whilst the steward (a methodist, therefore a hypocrite and cheat, for Hogarth scorned a papist and a dissenter,) is negotiating between the old couple, their children sit together, united but apart. My lord is admiring his countenance in the glass, while his bride is twiddling her marriage ring on her pocket handkerchief; and listening with rueful countenance to Counsellor Silvertongue, who has been drawing the settlements. The girl is pretty, but the painter, with a curious watchfulness, has taken care to give her a likeness to her father, as in the young Viscount's face you see a resemblance to the Earl, his noble sire. The sense of the coronet pervades the picture, as it is supposed to do the mind of its wearer. The pictures round the room are sly hints indicating the situation of the parties about to marry. A martyr is led to the fire; Andromeda is offered to sacrifice; Judith is going to slay Holofernes. There is the ancestor of the house (in the picture it is the Earl himself as a young man), with a comet over his head, indicating that the career of the family is to be brilliant and brief. In the second picture, the old Lord must be dead, for Madam has now the Countess's coronet over her bed and toilet-glass, and sits listening to that dangerous Counsellor Silvertongue, whose portrait now actually hangs up in her room, whilst the counsellor takes his ease on the sofa by her side, evidently the familiar of the house, and the confidant of the mistress. My lord takes his pleasure elsewhere than at home, whither he returns jaded and tipsy from the Rose, to find his wife yawning in her drawing-room, her whist-party over, and the daylight streaming in; or he amuses himself with the very worst company abroad, whilst his wife sits at home listening to foreign singers, or wastes her money at auctions, or, worse still, seeks amusement at masquerades. The dismal end is known. My lord draws upon the counsellor, who lulls him, and is apprehended whilst endeavouring to escape. My lady goes back perforce to the Alderman in the City, and faints upon reading Counsellor Silvertongue's dying speech at Tyburn, where the counsellor has been executed for sending his lordship out of the word. Moral:—Don't listen to evil silver-tongued counsellors: don't marry a man for his rank, or a woman for her money: don't frequent foolish auctions and masquerade balls unknown to your husband: don't have wicked companions abroad and neglect your wife, otherwise you will be run through the body, and ruin will ensue, and disgrace, and Tyburn. The people are all naughty, and Bogey carries them all off. In the "Rake's Progress," a loose life is ended by a similar sad catastrophe. It is the spendthrift coming into possession of the wealth of the paternal miser; the prodigal surrounded by flatterers, and wasting his substance on the very worst company; the bailiffs, the gambling-house, and Bedlam for an end. In the famous story of Industry and Idleness, the moral is pointed in a manner similarly clear. Fair-haired Frank Goodchild smiles at his work, whilst naughty Tom Idle snores over his loom. Frank reads the edifying ballads of Whittington and the London 'Prentice. Whilst that reprobate Tom Idle prefers Moll Flanders, and drinks hugely of beer, Frank goes to church of a Sunday, and warbles hymns from the gallery; while Tom lies on a tomb-stone outside playing at halfpenny-under-the-hat, with street blackguards, and deservedly caned by the beadle, Frank is made overseer of the business, whilst Tom is sent to sea. Frank is taken into partnership and marries his master's daughter, sends out broken victuals to the poor, and listens in his night-cap and gown with the lovely Mrs. Goodchild by his side, to the nuptial music of the City bands and the marrowbones and cleavers; whilst idle Tom, returned from sea, shudders in a garret lest the officers are coming to take him for picking pockets. The Worshipful Francis Goodchild, Esq., becomes Sheriff of London, and partakes of the most splendid dinners which money can purchase or Alderman devour; whilst poor Tom is taken up in a night cellar, with that one-eyed and disreputable accomplice who first taught him to play chuck-farthing on a Sunday. What happens next? Tom is brought up before the justice of his country, in the person of Mr. Alderman Goodchild, who weeps as he recognises his old brother 'prentice, as Tom's one-eyed friend peaches on him, and the clerk^{[errata 1]} makes out the poor rogue's ticket for Newgate. Then the end comes. Tom goes to Tyburn in a cart with a coffin in it; whilst the Right Honourable Francis Goodchild, Lord Mayor of London, proceeds to his Mansion House, in his gilt coach with four footmen and a sword-bearer, whilst the Companies of London march in the august procession, whilst the train bands of the City fire their pieces and get drunk in his honour; and oh crowning delight and glory of all, whilst his Majesty the King looks out from his royal balcony, with his ribbon on his breast, and his Queen and his star by his side, at the corner house of St. Paul's Church-yard, where the toy-shop is now.

How the times have changed! The new Post-office now not disadvantageously occupies that spot where the scaffolding is in the picture, where the tipsy trainband-man is lurching against the post, with his wig over one eye, and the 'prentice-boy is trying to kiss the pretty girl in the gallery. Past away prentice-boy and pretty girl! Past away tipsy trainband-man with wig and bandolier! On the spot where Tom Idle (for whom I have an unaffected pity) made his exit from this wicked world, and where you see the hangman smoking his pipe as he reclines on the gibbet and views the hills of Harrow or Hampstead beyond— a splendid marble arch, a vast and modern city— clean, airy, painted drab, populous with nursery-maids and children, the abodes of wealth and comfort—the elegant, the prosperous, the polite Tyburnia rises, the most respectable district in the habitable globe!

In that last plate of the London Apprentices, in which the apotheosis of the Right Honourable Francis Goodchild is drawn, a ragged fellow is represented in the corner of the simple kindly piece, offering for sale a broadside, purporting to contain an account of the appearance of the ghost of Tom Idle, executed at Tyburn. Could Tom's ghost have made its appearance in 1847^{[errata 2]}, and not in 1747, what changes would have been remarked by that astonished escaped criminal! Over that road which the hangman used to travel constantly, and the Oxford stage twice a week, go ten thousand carriages every day: over yonder road, by which Dick Turpin fled to Windsor, and Squire Western journeyed into town, when he came to take up his quarters at the Hercules Pillars on the outskirts of London, what a rush of civilisation and order flows now! What armies of gentlemen with umbrellas march to banks, and chambers, and counting-houses! What regiments of nursery-maids and pretty infantry; what peaceful processions of policemen, what light broughams and what gay carriages, what swarms of busy apprentices and artificers, riding on omnibus-roofs, pass daily and hourly! Tom Idle's times are quite changed: many of the institutions gone into disuse which were admired in his day. There's more pity and kindness and a better chance for poor Tom's successors now than at that simpler period when Fielding hanged him and Hogarth drew him.

To the student of history, these admirable works must be invaluable, as they give us the most complete and truthful picture of the manners, and even the thoughts, of the past century. We look, and see pass before us the England of a hundred years ago—the peer in his drawing-room, the lady of fashion in her apartment, foreign singers surrounding her, and the chamber filled with gew-gaws in the mode of that day; the church, with its quaint florid architecture and singing congregation; the parson with his great wig, and the beadle with his cane: all these are represented before us, and we are sure of the truth of the portrait. We see how the Lord Mayor dines in state; how the prodigal drinks and sports at the bagnio; how the poor girl beats hemp in Bridewell; how the thief divides his booty and drinks his punch at the night-cellar, and how he finishes his career at the gibbet. We may depend upon the perfect accuracy of these strange and varied portraits of the bygone generation: we see one of Walpole's members of Parliament cheered after his election, and the lieges celebrating the event, and drinking confusion to the Pretender: we see the grenadiers and trainbands of the City marching out to meet the enemy; and have before us, with sword and firelock, and white Hanoverian horse embroidered on the cap, the very figures of the men who ran away with Johnny Cope, and who conquered at Culloden. The Yorkshire waggon rolls into the inn-yard; the country parson, in his jack-boots, and his bands and short cassock, comes trotting into town, and we fancy it is Parson Adams, with his sermons in his pocket. The Salisbury fly sets forth from the old Angel—you see the passengers entering the great heavy vehicle, up the wooden steps, their hats tied down with handkerchiefs over their faces, and under their arms, sword, hanger, and ease-bottle; the landlady—apoplectic with the liquors in her own bar—is tugging at the bell; the hunchbacked postillon—he may have ridden the leaders to Humphry Clinker—is begging a gratuity; the miser is grumbling at the bill; Jack of the Centurion lies on the top of the clumsy vehicle, with a soldier by his side—it may be Smollet's Jack Hatchway—it has a likeness to Lismahago. You see the suburban fair and the strolling company of actors; the pretty milkmaid singing under the windows of the enraged French musician—it is such a girl as Steele charmingly described in the "Guardian," a few years before this date, singing under Mr. Ironside's window in Shire-lane, her pleasant carol of a May morning. You see noblemen and blacklegs bawling and betting in the Cockpit; you see Garrick as he was arrayed in King Richard; Macheath and Polly in the dresses which they wore when they charmed our ancestors, and when noblemen in blue ribbons sat on the stage and listened to their delightful music. You see the ragged French soldiery, in their white coats and cockades, at Calais Gate—they are of the regiment, very likely, which friend Roderick Random joined before he was rescued by his preserver Monsieur de Strap, with whom he fought on the famous day of Dettingen. You see the judges on the bench; the audience laughing in the pit; the student in the Oxford theatre; the citizen on his country walk; you see Broughton the boxer, Sarah Malcolm the murderess, Simon Lovat the traitor, John Wilkes the demagogue, leering at you with that squint which has become historical, and with that face which, ugly as it was, he said he could make as captivating to woman as the countenance of the handsomest beau in town. All these sights and people are with you. After looking in the "Rake's Progress" at Hogarth's picture of St. James's Palace-gate, you may people the street, but little altered within these hundred years, with the gilded carriages and thronging chairmen that bore the courtiers your ancestors to Queen Caroline's drawing-room more than a hundred years ago.

What manner of man^[3] was he who executed these portraits—so various, so faithful, and so admirable? In the London National Gallery most of us have seen the best and most carefully finished series of his comic paintings, and the portrait of his own honest face, of which the bright blue eyes shine out from the canvass and give you an idea of that keen and brave look with which William Hogarth regarded the world. No man was ever less of a hero; you see him before you, and can fancy what he was—a jovial, honest, London citizen, stout and sturdy; a hearty, plain-spoken man,^[4] loving his laugh, his friends, his glass, his roast-beef of Old England, and having a proper bourgeois scorn for French frogs, for mounseers, and wooden shoes in general, for foreign fiddlers, foreign singers, and, above all, for foreign painters, whom he held in the most amusing contempt.

It must have been great fun to hear him rage against Correggio and the Carracci; to watch him thump the table and snap his fingers and say, "Historical painters be hanged; here's the man that will paint against any of them for a hundred pounds. Correggio's 'Sigismunda!' Look at Bill Hogarth's 'Sigismunda;' look at my altar-piece at St. Mary Redcliffe, Bristol; look at my 'Paul before Felix,' and see whether I'm not as good as the best of them."^[5]

Posterity has not quite confirmed honest Hogarth's opinion about his talents for the sublime. Although Swift could not see the difference between tweedle-dee and tweedle-dum, posterity has not shared the Dean's contempt for Handel; the world has discovered a difference between tweedle-dee and tweedle-dum, and given a hearty applause and admiration to Hogarth, too, but not exactly as a painter of scriptural subjects, or as a rival of Correggio. It docs not take away from one's liking for the man, or from the moral of his story, or the humour of it, from one’s admiration for the prodigious merit of his performances, to remember that he persisted to the last in believing that the world was in a conspiracy against him with respect to his talents as an historical painter, and that a set of mis- ereants, as he called them, were employed to run his genius down. They say it was Liston’s firm belief, that he was a great and neglected tragic actor; they say that every one of us believes in his heart, or would like to have others believe, that he is something which he is not. One of the most notorious of the “mis- creants,” Hogarth says, was Wilkes, who assailed him in the “North Briton;” the other was Churchill, who put the “North Briton” attack into heroic verse, and published his “Epistle to Hogarth.” Hogarth replied by that caricature of Wilkes, in which the patriot still figures before us, with his Satanic grin and squint, and by a caricature of Churchill, in which he is represented as a bear with a staff, on which, lie the first, lie the second, lie the tenth, is engraved in unmis- takeable letters. There is very little mistake about honest Hogarth’s satire: if he has to paint a man with his throat cut, he draws him with his head almost off; and he tried to do the same for his enemies in this little controversy. “Having an old plate by me,” says he, “with some parts ready, such as the background, and a dog, I began to consider how I could turn so much work laid aside to some account, and so patched up a print of Master Churchill, in the character of a bear; the pleasure and pecuniary advantage which I derived from these two engravings, together with occasionally riding on horseback, restored me to as much health as I can expect at my time of life."

And so he concludes his queer little book of Anecdotes, "I have gone through the circumstances of a life which till lately passed pretty much to my own satisfaction, and I hope in no respect injurious to any other man. This I may safely assert, that I have done my best to make those about me tolerably happy, and my greatest enemy cannot say I ever did an intentional injury. What may follow, God knows."

A queer account still exists of a holiday jaunt taken by Hogarth and four friends of his, who set out, like the redoubted Mr. Pickwick and his companions, but just a hundred years before those heroes; and made an excursion to Gravesend, Rochester, Sheerness, and adjacent places.^[6] One of the gentlemen noted down the proceedings of the journey, for which Hogarth and a brother artist made drawings. The book is chiefly curious at this moment from showing the citizen life of those days, and the rough, jolly style of merriment, not of the five companions merely, but of thousands of jolly fellows of their time. Hogarth and his friends quitting the Bedford Arms, Covent Garden, with a song, took water to Billingsgate, exchanging compliments with the bargemen as they went down the river. At Billingsgate, Hogarth made "a caracatura" of a facetious porter, called the Duke of Puddledock, who agreeably entertained the party with the humours of the place. Hence they took a Gravesend boat for themselves; had straw to lie upon, and a tilt over their heads, they say, and went down the river at night, sleeping and singing jolly choruses.

They arrived at Gravesend at six, when they washed their faces and hands, and had their wigs powdered. Then they sallied forth for Rochester on foot, and drank by the way three pots of ale. At one o'clock they went to dinner with excellent port, and a quantity more beer, and afterwards Hogarth and Scott played at hopscotch in the town hall. It would appear that they slept most of them in one room, and the chronicler of the party describes them all as waking at seven o'clock, and telling each other their dreams. You have rough sketches by Hogarth of the incidents of this holiday excursion. The sturdy little painter is seen sprawling over a plank to a boat at Gravesend; the whole company are represented in one design, in a fisherman's room, where they had all passed the night. One gentleman in a night-cap is shaving himself; another is being shaved by the fisherman; a third, with a handkerchief over his bald pate, is taking his breakfast; and Hogarth is sketching the whole scene.

They describe at night how they returned to their quarters, drank to their friends, as usual, emptied several cans of good flip, all singing merrily.

It is a jolly party of tradesmen engaged at highjinks. These were the manners and pleasures of Hogarth, of his time very likely, of men not very refined, but honest and merry. It is a brave London citizen, with John Bull habits, prejudices, and pleasures.^[7]

Of Smollett's associates, and manner of life, the author of the admirable "Humphrey Clinker," has given us an interesting account, in that most amusing of novels.^[8]

I have no doubt that the above picture is as faithful a one as any from the pencil of his kindred humourist, Hogarth. We have before us, and painted by his own hand, Tobias Smollett, the manly, kindly, honest and irascible; worn and battered, but still brave and full of heart, after a long struggle against a hard fortune. His brain had been busied with a hundred different schemes; he had been reviewer and historian, critic, medical writer, poet, pamphleteer. He had fought endless literary battles; and braved and wielded for years the cudgels of controversy. It was a hard and savage fight in those days, and a niggard pay. He was oppressed by illness, age, narrow fortune; but his spirit was still resolute, and his courage steady; the battle over, he could do justice to the enemy with whom he had been so fiercely engaged, and give a not unfriendly grasp to the hand that had mauled him. He is like one of those Scotch cadets, of whom history gives us so many examples, and who, with a national fidelity, the great Scotch novelist has painted so charmingly. Of gentle birth^[9] and narrow means, going out from his northern home to win his fortune in the world, and to fight his way, armed with courage, hunger, and keen wits. His crest is a shattered oak tree, with green leaves yet springing from it. On his ancient coat-of-arms there is a lion and a horn; this shield of his was battered and dinted in a hundred fights and brawls,^[10] through which the stout Scotchman bore it courageously. You see somehow that he is a gentleman, through all his battling and struggling, his poverty, his hard-fought successes, and his defeats. His novels are recollections of his own adventures; his characters drawn, as I should think, from personages with whom he became acquainted in his own career of life. Strange companions he must have had; queer acquaintances he made in the Glasgow College—in the country apothecary's shop; in the gun-room of the man-of-war where he served as surgeon, and in the hard life on shore, where the sturdy adventurer struggled for fortune. He did not invent much, as I fancy, but had the keenest perceptive faculty, and described what he saw with wonderful relish and delightful broad humour, I think Uncle Bowling, in "Roderick Random," is as good a character as Squire Western himself; and Mr. Morgan, the Welsh^{[errata 3]} apothecary, is as pleasant as Dr. Caius. What man who has made his inestimable acquaintance—what novel reader who loves Don Quixote and Major Dalgetty—will refuse his most cordial acknowledgments to the admirable Lieutenant Lismahago. The novel of "Humphrey Clinker" is, I do think, the most laughable story that has ever been written since the goodly art of novel-writing began. Winifred Jenkins and Tabitha Bramble must keep Englishmen on the grin for ages yet to come; and in their letters and the story of their loves there is a perpetual fount of sparkling laughter, as inexhaustible as Bladnd's well.

Fielding, too, has described, though with a greater hand, the characters and scenes which he knew and saw. He had more than ordinary opportunities for becoming acquainted with life. His family and education, first—his fortunes and misfortunes afterwards, brought him into the society of every rank and condition of man. He is himself the hero of his books: he is wild Tom Jones, he is wild Captain Booth, less wild, I am glad to think, than his predecessor, at least heartily conscious of demerit, and anxious to amend.

When Fielding first came upon the town in 1727, the recollection of the great wits was still fresh in the coffee-houses and assemblies, and the judges there declared that young Harry Fielding had more spirits and wit than Congreve or any of his brilliant successors. His figure was tall and stalwart; his face handsome, manly, and noble-looking; to the very last days of his life he retained a grandeur of air, and, although worn down by disease, his aspect and presence imposed respect upon the people round about him.

A dispute took place between Mr. Fielding and the captain^[11] of the ship in which he was making his last voyage, and Fielding relates how the man finally went down on his knees and begged his passenger's pardon. He was living up to the last days of his life, and his spirit never gave in. His vital power must have been immensely strong. Lady Mary Wortley Montagu^[12] prettily characterises Fielding and this capacity for happiness which he possessed, in a little notice of his death, when she compares him to Steele, who was as improvident and as happy as he was, and says that both should have gone on living for ever. One can fancy the eagerness and gusto with which a man of Fielding's frame, with his vast health and robust appetite, his ardent spirits, his joyful humour, and his keen and hearty relish for life, must have seized and drunk that cup of pleasure which the town offered to him. Can any of my hearers remember the youthful feats of a college breakfast—the meats devoured and the cups quaffed in that Homeric feast? I can call to mind some of the heroes of those youthful banquets, and fancy young Fielding from Leyden rushing upon the feast, with his great laugh and immense healthy young appetite, eager and vigorous to enjoy. The young man's wit and manners made him friends everywhere: he lived with the grand Man's society of those days; he was courted by peers and men of wealth and fashion. As he had a paternal allowance from his father, General Fielding, which, to use Henry's own phrase, any man might pay who would; as he liked good wine, good clothes, and good company, which are all expensive articles to purchase, Harry Fielding began to run into debt, and borrow money in that easy manner in which Captain Booth borrows money in the novel: was in nowise particular in accepting a few pieces from the purses of his rich friends, and bore down upon more than one of them, as Walpole tells us only too truly, for a dinner or a guinea. To supply himself with the latter, he began to write theatrical pieces, having already, no doubt, a considerable acquaintance amongst the Oldfields and Bracegirdles behind the scenes. He laughed at these pieces and scorned them. When the audience upon one occasion began to hiss a scene which he was too lazy to correct, and regarding which, when Garrick remonstrated with him, he said that the public was too stupid to find out the badness of his work;—when the audience began to hiss, Fielding said, with characteristic coolness—"they have found it out, have they?" He did not prepare his novels in this way, and with a very different care and interest laid the foundations and built up the edifices of his future fame.

Time and shower have very little damaged those. The fashion and ornaments are, perhaps, of the architecture of that age; but the buildings remain strong and lofty, and of admirable proportions—masterpieces of genius and monuments of workmanlike skill.

I cannot offer or hope to make a hero of Harry Fielding. Why hide his faults? Why conceal his weaknesses in a cloud of periphrasis? Why not show him, like him as he is, not robed in a marble toga, and draped and polished in a heroic attitude, but with inked ruffles, and claret stains on his tarnished laced coat, and on his manly face the marks of good fellowship, of illness, of kindness, of care: and wine. Stained,^{[errata 4]} as you see him, and worn by care and dissipation, that man retains some of the most precious and splendid human qualities and endowments. He has an admirable natural love of truth, the keenest instinctive antipathy to hypocrisy, the happiest satirical gift of laughing it to scorn. His wit is wonderfully wise and detective; it flashes upon a rogue and lightens up a rascal like a policeman's lantern. He is one of the manliest and kindliest of human beings: in the midst of all his imperfections, he respects female innocence and infantine tenderness, as you would suppose such a great-hearted, courageous soul would respect and care for them. He could not be so brave, generous, truth-telling as he is, were he not infinitely merciful, pitiful, and tender. He will give any man his purse—he can't help kindness and profusion. He may have low tastes, but not a mean mind; he admires with all his heart good and virtuous men, stoops to no flattery, bears no rancour, disdains all disloyal arts, does his public duty uprightly, is fondly loved by his family, and dies at his work.^[13]

If that theory be—and I have no doubt it is—the right and safe one, that human nature is always pleased with the spectacle of innocence rescued by fidelity, purity, and courage; I suppose that of the heroes of Wielding's three novels, we should like honest Joseph Andrews the best, and Captain Booth the second, and Tom Jones the third.^[14]

Joseph Andrews, though he wears Lady Booby's cast-off livery, is, I think, to the full as polite as Tom Jones in his fustian-suit, or Captain Booth in regimentals. He has, like those heroes, large calves, broad shoulders, a high courage, and a handsome face. The accounts of Joseph's bravery and good qualities; his voice, too musical to halloo to the dogs; his bravery in riding races for the gentlemen of the county, and his constancy in refusing bribes and temptation, have something affecting in their naiveté and freshness, and prepossess one in favour of that handsome young hero. The rustic bloom of Fanny, and the delightful simplicity of Payson Adams are described with a friendliness which wins the reader of their story: we part with them with more regret than from Booth and Jones.

Fielding, no doubt, began to write this novel in ridicule of "Pamela," for which work one can understand the hearty contempt and antipathy which such an athletic and boisterous genius as Fielding's must have entertained. He couldn't do otherwise than laugh at the puny, cockney bookseller, pouring out endless volumes of sentimental twaddle, and hold him up to scorn as a moll-coddle and a milksop. His genius had been nursed on sack-posset, and not on dishes of tea. His muse had sung the loudest in tavern choruses, had seen the daylight streaming in over thousands of emptied bowls, and reeled home to chambers on the shoulders of the watchman. Richardson's goddess was attended by old maids and dowagers, and fed on muffins and bohea. "Milksop!" roars Harry Fielding, clattering at the timid shop-shutters. "Wretch! Monster! Mohock!" shrieks the sentimental author of "Pamela;"^[15] and all the ladies of his court cackle out an affrighted chorus. Fielding proposes to write a book in ridicule of the author, whom he disliked and utterly scorned and laughed at; but he is himself of so generous, jovial, and kindly a turn that he begins to like the characters which he invents, can't help making them manly and pleasant as well as ridiculous, and before he has done with them all loves them heartily every one.

Richardson's sickening antipathy for Harry Fielding is quite as natural as the other's laughter and contempt at the sentimentalist. I have not learned that these likings and dislikings have ceased in the present day: and every author must lay his account not only to misrepresentation but to honest enmity among critics, and to being hated and abused for good as well as for bad reasons. Richardson disliked Fielding's works quite honestly: Walpole quite honestly spoke of them^{[errata 5]} as vulgar and stupid. Their squeamish stomachs sickened at the rough fare and the rough guests assembled at Fielding's jolly revel. Indeed the cloth might have been cleaner: and the dinner and the company were scarce such as suited a dandy. The kind and wise old Johnson would not sit down with him.^[16] But a greater scholar than Johnson could afford to admire that astonishing genius of Harry Fielding: and we all know the lofty panegyric which Gibbon wrote of him, and which remains a towering monument to the great novelist's memory. "Our immortal Fielding," Gibbon writes, "was of the younger branch of the Earls of Denbigh, who drew their origin from the Counts of Hapsburgh. The successors of Charles V. may disdain their brethren of England: but the romance of 'Tom Jones,' that exquisite picture of human manners, will outlive the palace of the Escurial and the Imperial Eagle of Austria."

There can be no gainsaying the sentence of this great judge. To have your name mentioned by Gibbon, is like having it written on the dome of St. Peter's. Pilgrims from all the world admire and behold it.

As a picture of manners the novel of "Tom Jones" is indeed exquisite: as a work of construction quite a wonder: the by-play of wisdom; the power of observation; the multiplied felicitous turns and thoughts; the varied character of the great Comic Epic; keep the reader in a perpetual admiration and curiosity.^[17] But against Mr. Thomas Jones himself we have a right to put in a protest, and quarrel with the esteem the author evidently has for that character. Charles Lamb says finely of Jones, that a single hearty laugh from him "clears the air"—but then it is in a certain state of the atmosphere. It might clear the air when such personages as Blifil or Lady Bellaston poison it. But I fear very much that (except until the very last scene of the story,) when Mr. Jones enters Sophia's drawing-room, the pure air there is rather tainted with the young gentleman's tobacco-pipe and punch. I can't say that I think Mr. Jones a virtuous character; I can't say but that I think Fielding's evident liking and admiration for Mr. Jones, shows that the great humourist's moral sense was blunted by his life, and that here in Art and Ethics, there is a great error. If it is right to have a hero, whom we may admire, let us at least take care that he is admirable: if, as is the plan of some authors (a plan decidedly against their interests, be it said), it is propounded that there exists in life no such being, and therefore that in novels, the picture of life, there should appear no such character; then Mr. Thomas Jones becomes an admissible person, and we examine his defects and good qualities, as we do those of Parson Thwackum, or Miss Seagrim. But a hero with a flawed reputation; a hero spunging for a guinea; a hero who can't pay his landlady, and is obliged to let his honour out to hire, is absurd, and his claim to heroic rank untenable. I protest against Mr. Thomas Jones holding such rank at all. I protest even against his being considered a more than ordinary young fellow, ruddy-cheeked, broad-shouldered, and fond of wine and pleasure. He would not rob a church, but that is all; and a pretty long argument may be debated, as to which of these old types, the spendthrift, the hypocrite, Jones and Blifil, Charles and Joseph Surface,—is the worst member of society and the most deserving of censure. The prodigal Captain Booth is a better man than his predecessor Mr. Jones, in so far as he thinks much more humbly of himself than Jones did: goes down on his knees, and owns his weaknesses, and cries out "Not for my sake, but for the sake of my pure and sweet and beautiful wife Amelia, I pray you, O critical reader, to forgive me." That stern moralist regards him from the bench (the judge's practice out of court is not here the question), and says, "Captain Booth, it is perfectly true that your life has been disreputable, and that on many occasions you have shown yourself to be no better than a scamp—you have been tippling at the tavern, when the kindest and sweetest lady in the world has cooked your little supper of boiled mutton and awaited you all the night; you have spoilt the little dish of boiled mutton thereby, and caused pangs and pains to Amelia's tender heart.^[18] You have got into debt without the means of paying it. You have gambled the money with which you ought to have paid your rent. You have spent in drink or in worse amusements the sums which your poor wife hag raised upon her little home treasures, her own ornaments, and the toys of her children. But, you rascal! you own humbly that you are no better than you should be; you never for one moment pretend that you are anything but a miserable weak-minded rogue. You do in your heart adore that angelic woman, your wife, and for her sake, sirrah, you shall have your discharge. Lucky for you and for others like you, that in spite of your failings and imperfections, pure hearts pity and love you. For your wife's sake you are permitted to go hence without a remand, and I beg you, by the way, to carry to that angelical lady the expression of the cordial respect and admiration of this court." Amelia pleads for her husband Will Booth: Amelia pleads for her reckless kindly old father, Harry Fielding. To have invented that character, is not only a triumph of art, but it is a good action. They say it was in his own home that Fielding knew her and loved her: and from his own wife that he drew the most charming character in English fiction—Fiction! why fiction? why not history? I know Amelia just as well as Lady Mary Wortley Montagu. I believe in Colonel Bath almost as much as in Colonel Gardiner or the Duke of Cumberland. I admire the author of "Amelia," and thank the kind master who introduced me to that sweet and delightful companion and friend. Amelia perhaps is not a better story than "Tom Jones," but it has the better ethics; the prodigal repents at least, before forgiveness,—whereas that odious broad-backed Mr. Jones, carries off his beauty with scarce an interval of remorse for his manifold errors and short-comings; and is not half punished enough before the great prize of fortune and love falls to his share. I am angry with Jones. Too much of the plum-cake and rewards of life fall to that boisterous, swaggering young scapegrace. Sophia actually surrenders without a proper sense of decorum; the fond, foolish, palpitating little creature,—"Indeed, Mr. Jones," she says,—"it rests with you to appoint the day." I suppose Sophia is drawn from life as well as Amelia, and many a young fellow, no better than Mr. Thomas Jones, has carried by a coup de main the heart of many a kind girl who was a great deal too good for him.

What a wonderful art! What an admirable gift of nature, was it by which the author of these tales was endowed, and which enabled him to fix our interest, to waken our sympathy, to seize upon our credulity, so that we believe in his people—speculate gravely upon their faults or their excellencies, prefer this one or that, deplore Jones's fondness for drink and play, Booth's fondness for play and drink, and the unfortunate position of the wives of both gentlemen—love and admire those ladies with all our hearts, and talk about them as faithfully as if we had breakfasted with them this morning in their actual drawing-rooms, or should meet them this afternoon in the Park! What a genius! what a vigour! what a bright-eyed intelligence and observation! what a wholesome hatred for meanness and knavery! what a vast sympathy! what a cheerfulness! what a manly relish of life! what a love of human kind! what a poet is here!—watching, meditating, brooding, creating! What multitudes of truths has that man left behind him! What generations he has taught to laugh wisely and fairly! What scholars he has formed and accustomed to the exercise of thoughtful humour and the manly play of wit! What a courage he had!^[19] What a dauntless and constant cheerfulness of intellect, that burned bright and steady through all the storms of his life, and never deserted its last wreck! It is wonderful to think of the pains and misery which the man suffered; the pressure of want, illness, remorse which he endured; and that the writer was neither malignant nor melancholy, his view of truth never warped, and his generous human kindness never surrendered.^[20]

In the quarrel mentioned before, which happened on Fielding's last voyage to Lisbon, and when the stout captain of the ship fell down on his knees and asked the sick man's pardon-—"I did not suffer," Fielding says, in his hearty, manly way, his eyes lighting up as it were with their old fire—"I did not suffer a brave man and an old man to remain a moment in that posture, but immediately forgave him." Indeed, I think, with his noble spirit and unconquerable generosity, Fielding reminds one of those brave men of whom one reads in stories of English shipwrecks and disasters—of the officer on the African shore, when disease has destroyed the crew, and he himself is seized by fever, who throws the lead with a death-stricken hand, takes the soundings, carries the ship out of the river or off the dangerous coast, and dies in the manly endeavour—of the wounded captain, when the vessel founders, who never loses his heart, who eyes the danger steadily, and has a cheery word for all, until the inevitable fate overwhelms him, and the gallant ship goes down. Such a brave and gentle heart, such an intrepid and courageous spirit, I love to recognise in the manly, the English Harry Fielding.

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1. Coleridge speaks of the "beautiful female faces" in Hogarth's pictures, "in whom," he says, "the satirist never extinguished that love of beauty which belonged to him as a poet."—The Friend.
2. "I was pleased with the reply of a gentleman, who, being asked which book he esteemed most in his library, answered 'Shakspeare: being asked which he esteemed next best, replied 'Hogarth.' His graphic representations are indeed books: they have the teeming, fruitful, suggestive meaning of words. Other pictures we look at—his prints we read. . . . . . .
   "The quantity of thought which Hogarth crowds into every picture would almost unvulgarise every subject which he might choose. . . . .
   "I say not that all the ridiculous subjects of Hogarth have necessarily something in them to make us like them; some are indifferent to us, Some in their nature repulsive, and only made interesting by the wonderful skill and truth to nature in the painter; but I contend that there is in most of them that sprinkling of the better nature, which, like holy water, chases away and disperses the contagion of the bad. They have this in them, besides, that they bring us acquainted with the every-day human face,—they give us skill to detect those gradations of sense and virtue (which escape the careless or fastidious observer) in the circumstances of the world about us; and prevent that disgust at common life, that tedium quotidianarum formaram, which an unrestricted passion for ideal forms and beauties is in danger of producing. In this, as in many other things, they are analogous to the best novels of Smollett and Fielding."—Charles Lamb.
   "It has been observed that Hogarth's pictures are exceedingly unlike any other representations of the same kind of subjects—that they form a class, and have a character, peculiar to themselves. It may be worth while to consider in what this general distinction consists.
   "In the first place, they are, in the strictest sense, historical pictures; and if what Fielding says be true, that his novel of 'Tom Jones' ought to be regarded as an epic prose-poem, because it contained a regular development of fable, manners, character, and passion, the compositions of Hogarth, will, in like manner, be found to have a higher claim to the title of epic pictures than many which have of late arrogated that denomination to themselves. When we say that Hogarth treated his subjects historically, we mean that his works represent the manners and humours of mankind in action, and their characters by varied expression. Everything in his pictures has life and motion in it. Not only does the business of the scene never stand still, but every feature and muscle is put into full play; the exact feeling of the moment is brought out, and carried to its utmost height, and then instantly seized and stamped on the canvass for ever. The expression is always taken en passant, in a state of progress or change, and, as it were, at the salient point. . . . . . His figures are not like the back-ground on which they are painted: even the pictures on the wall have a peculiar look of their own. Again, with the rapidity, variety, and scope of history, Hogarth's heads have all the reality and correctness of portraits. He gives the extremes of character and expression, but he gives them with perfect truth and accuracy. This is, in fact, what distinguishes his compositions from all others of the same kind, that they are equally remote from caricature, and from mere still life. . . . . . . His faces go to the very verge of caricature, and yet never (we believe in any single instance) go beyond it."—Hazlitt.
3. Hogarth (whose family name was Hogart) was the grandson of a Westmoreland yeoman. His father came to London, and was an author and schoolmaster. William was born in 1698 (according to the most probable conjecture) in the parish of St. Martin, Ludgate. He was early apprenticed to an engraver of arms on plate. The following touches are from his Anecdotes of Himself. (Edition of 1833.)
   "As I had naturally a good eye, and a fondness for drawing, shows of all sorts gave me uncommon pleasure when an infant; and mimicry, common to all children, was remarkable in me. An early access to a neighbouring painter drew my attention from play; and I was, at every possible opportunity, employed in making drawings. I picked up an acquaintance of the same turn, and soon learnt to draw the alphabet with great correctness. My exercises, when at school, were more remarkable for the ornaments which adorned them, than for the exercise itself. In the former, I soon found that blockheads with better memories could much surpass me; but for the latter I was particularly distinguished. . . .
   "I thought it still more unlikely that by pursuing the common method, and copying old drawings, I could ever attain the power of making new designs, which was my first and greatest ambition, I therefore endeavoured to habituate myself to the exercise of a sort of technical memory; and by repeating in my own mind, the parts of which objects were composed, I could by degrees combine and put them down with my pencil. Thus, with all the drawbacks which resulted from the circumstances I have mentioned, I had one material advantage over my competitors, viz., the early habit I thus acquired of retaining in my mind's eye, without coldly copying it on the spot, whatever I intended to imitate.
   "The instant I became master of my own time, I determined to qualify myself for engraving on copper. In this I readily got employment; and frontispieces to books, such as prints to 'Hudibras,' in twelves, &c. soon brought me into the way. But the tribe of booksellers remained as my father had left them . . . . which put me upon publishing on my own account. But here again I had to encounter a monopoly of printsellers, equally mean and destructive to the ingenious; for the first plate I published, called 'The Taste of the Town,' in which the reigning follies were lashed, had no sooner begun to take a run, than I found copies of it in the print-shops, vending at half-price, while the original prints were returned to me again, and I was thus obliged to sell the plate for whatever these pirates pleased to give me, as there was no place of sale but at their shops. Owing to this, and other circumstances, by engraving, until I was near thirty, I could do little more than maintain myself; but even then, I was a punctual paymaster.
   "I then married, and———
   [But William is going too fast here. He made 'a stolen union' on March 23, 1729, with Jane, daughter of Sir James Thornhill, serjeant-painter. For some time Sir James kept his heart and his purse-strings close, but 'soon after became both reconciled and generous to the young couple.'—Hogarth's Works, by Nichols and Steevens, vol. i. p. 44.] "—commenced painter of small Conversation Pieces, from twelve to fifteen inches high. This being a novelty, succeeded for a few years."
   (About this time Hogarth had summer-lodgings at South Lambeth, and did all kinds of work, "embellishing" the "Spring Gardens" at Vauxhall," and the like. In 1781, he published a satirical plate against Pope, founded on the well-known imputation against him of his having satirised the Duke of Chandos under the name of Timon, in his poem on Taste. The plate represented a view of Burlington House with Pope whitewashing it, and bespattering the Duke of Chandos's coach. Pope made no retort, and has never mentioned Hogarth.)
   "Before I had done anything of much consequence in this walk, I entertained some hopes of succeeding in what the puffers in books call The Great Style of History Painting; so that without having had a stroke of this grand business before, I quitted small portraits and familiar conversations, and with a smile at my own temerity, commenced history-painter, and on a great staircase at St. Bartholomew's Hospital, painted two Scripture stories, the 'Pool of Bethesda' and the 'Good Samaritan,' with features seven feet high. . . . But as religion, the great promoter of this style in other countries, rejected it in England, I was unwilling to sink into a portrait manufacturer; and still ambitious of being singular, dropped all expectations of advantage from that source, and returned to the pursuit of my former dealings with the public at large.
   "As to portrait-painting, the chief branch of the art by which a painter can procure himself a tolerable livelihood, and the only one by which a lover of money can get a fortune; a man of very moderate talents may have great success in it, as the artifice and address of a mercer is infinitely more useful than the abilities of a painter. By the manner in which the present race of professors in England conduct it, that also becomes still life." ****** "By this inundation of folly and puff" (he has been speaking of the success of Vanloo, who came over here in 1737), "I must confess I was much disgusted, and determined to try if by any means I could stem the torrent, and by opposing end it. I laughed at the pretensions of these quacks in colouring, ridiculed their productions as feeble and contemptible, and asserted that it required neither taste nor talents to excel their most popular performances. This interference excited much enmity, because, as my opponents told me, my studies were in another way. You talk, added they, with ineffable contempt of portrait-painting; if it is so easy a task, why do not you convince the world, by painting a portrait yourself? Provoked at this language, I, one day at the Academy in St. Martin's Lane, put the following question: Supposing any man, at this time, were to paint a portrait as well as Vandyke, would it be seen or acknowledged, and could the artist enjoy the benefit or acquire the reputation due to his performance?
   "They asked me in reply, If I could paint one as well? and I frankly answered, I believed I could. . . .
   "Of the mighty talents said to be requisite for portrait-painting, I had not the most exalted opinion."
   Let us now hear him on the question of the Academy:—
   "To pester the three great estates of the empire, about twenty or thirty students drawing after a man or a horse, appears, as must be acknowledged, foolish enough: but the real motive is, that a few bustling characters, who have access to people of rank, think they can thus get a superiority over their brethren, be appointed to places, and have salaries as in France, for telling a lad when a leg or an arm is too long or too short.. . . .
   "France, ever aping the magnificence of other nations, has in its turn assumed a foppish kind of splendour sufficient to dazzle the eyes of the neighbouring states, and draw vast sums of money from this country. . . .
   "To return to our Royal Academy; I am told that one of their leading objects will be, sending young men abroad to study the antique statues, for such kind of studies may sometimes improve an exalted genius, but they will not create it; and whatever has been the cause, this same travelling to Italy has, in several instances that I have seen, reduced the student from nature, and led him to paint marble figures, in which he has availed himself of the great works of antiquity, as a coward does when he puts on the armour of an Alexander; for, with similar pretensions and similar vanity, the painter supposes he shall be adored as a second Raphael Urbino."
   We must now hear him on his "Sigismunda:"—
   "As the most violent and virulent abuse thrown on 'Sigismunda' was from a set of miscreants, with whom I am proud of having been ever at war, I mean the expounders of the mysteries of old pictures, I have been sometimes told they were beneath my notice. This is true of them individually, but as they have access to people of rank, who seem as happy in being cheated as these merchants are in cheating them, they have a power of doing much mischief to a modern artist. However mean the vendor of poisons the mineral is destructive:—to me its operation was troublesome enough. Ill nature spread so fast that now was the time for every little dog in the profession to bark!"
   Next comes a characteristic account of his controversy with Wilkes and Churchill.
   "The stagnation rendered it necessary that I should do some timed thing, to recover my lost time, and stop a gap in my income. This drew forth my print of 'The Times,' a subject which tended to the restoration of peace and unanimity, and put the opposers of these humane objects in a light which gave great offence to those who were trying to foment disaffection in the minds of the populace. One of the most notorious of them, till now my friend and flatterer, attacked me in a 'North Briton,' in so infamous and malign a style, that he himself, when pushed even by his best friends, was driven to so poor an excuse as to say he was drunk when he wrote it. . . .
   "This renowned patriot's portrait, drawn like as I could as to features, and marked with some indications of his mind, fully answered my purpose. The ridiculous was apparent to every eye! A Brutus! A saviour of his country with such an aspect—was so arrant a farce, that though it gave rise to much laughter in the lookers-on, galled both him and his adherents to the bone. . . .
   "Churchill, Wilkes's toad-echo, put the 'North Briton' into verse, in an Epistle to Hogarth; but as the abuse was precisely the same, except a little poetical heightening, which goes for nothing, it made no impression. . . . However, having an old plate by me, with some parts ready, such as the back-ground and a dog, I began to consider how I could turn so much work laid aside to some account, and so patched up a print of Master Churchill in the character of a Bear. The pleasure and pecuniary advantage which I derived from these two engravings, together with occasionally riding on horseback, restored me to as much health as can be expected at my time of life."
4. "It happened in the early part of Hogarth's life, that a nobleman who was uncommonly ugly and deformed came to sit to him for his picture. It was executed with a skill that did honour to the artist's abilities; but the likeness was rigidly observed, without even the necessary attention to compliment or flattery. The peer, disgusted at this counterpart of himself, never once thought of paying for a reflection that would only disgust him with his deformities. Some time was suffered to elapse before the artist applied for his money; but afterwards many applications were made by him (who had then no need of a banker) for payment, without success. The painter, however, at last hit upon an expedient. . . . It was couched m the following card:—
   "'Mr. Hogarth's dutiful respects to Lord ———. Finding that he does not mean to have the picture which was drawn for him, is informed again of Mr. Hogarth's necessity for the money. If, therefore, his Lordship does not send for it, in three days, it will be disposed of, with the addition of a tail, and some other little appendages, to Mr. Hare, the famous wild beast man; Mr. Hogarth having given that gentleman a conditional promise of it, for an exhibition-picture, on his Lordship's refusal.'
   "This intimation had the desired effect."—Works by Nichols and Steevens, vol. i. p. 25.
5. "Garrick himself was not more ductile to flattery. A word in favour of 'Sigismunda' might have commanded a proof-print or forced an original print out of our artist's hands." . . .
   "The following authenticated story of our artist (furnished by the late Mr. Bolchier, F.R.S., a surgeon of eminence) will also serve to show how much more easy it is to detect ill-placed or hyperbolical adulation respecting others, than when applied to ourselves. Hogarth, being at dinner with the great Cheselden and some other company, was told that Mr. John Freke, surgeon of St. Bartholomew's Hospital, a few evenings before at Dick's Coffee-house, had asserted that Greene was as eminent in composition as Handel, 'That fellow Freke,' replied Hogarth, 'is always shooting his bolt absurdly, one way or another. Handel is a giant in music; Greene only a light Florimel kind of a composer.' 'Ay,' says our artist's informant, 'but at the same time Mr. Freke declared you were as good a portrait-painter as Vandyck.' 'There he was right,' adds Hogarth, 'and so, by G———, I am, give me my time and let me choose my subject."—Works by Nichols and Steevens, vol. i. pp. 236, 237.
6. He made this excursion in 1732, his companions being John Thornhill (son of Sir James), Scott the landscape-painter, Tothall, and Forrest.
7. "Dr. Johnson made four lines once, on the death of poor Hogarth, which were equally true and pleasing; I know not why Garrick's were preferred to them:—
   "'The hand of him here torpid lies,
   That drew th' essential forms of grace;
   Here closed in death, th' attentive eyes,
   That saw the manners in the face.'
   
   
   "Mr. Hogarth, among the variety of kindnesses shown to me when I was too young to have a proper sense of them, was used to be very earnest that I should obtain the acquaintance, and if possible, the friendship of Dr. Johnson; whose conversation was, to the talk of other men, like Titian's painting compared to Hudson's, he said; 'but don't you tell people now that I say so (continued he) for the connoisseurs and I are at war, you know; and because I hate them, they think I hate Titian—and let them! . . . Of Dr. Johnson, when my father and he were talking about him one day, 'That man (says Hogarth) is not contented with believing the Bible; but he fairly resolves, I think, to believe nothing but the Bible. Johnson (added he), though so wise a fellow, is more like King David than King Solomon, for he says in his haste, all men are liars.'"—Mrs. Piozzi.
   Hogarth died on the 26th of October, 1764. The day before his death, he was removed from his villa at Chiswick to Leicester Fields, "in a very weak condition, yet remarkably cheerful." He had just received an agreeable letter from Franklin. He lies buried at Chiswick.

8. TO SIR WATKIN PHILLIPS, BART., OF JESUS COLLEGE, OXON.

   "Dear Phillips,—In my last, I mentioned my having spent an evening with a society of authors, who seemed to be jealous and afraid of one another. My uncle was not at all surprised to hear me say I was disappointed in their conversation. 'A man may be very entertaining and instructive upon paper,' said he, 'and exceedingly dull in common discourse. I have observed, that those who shine most in private company, are but secondary stars in the constellation of genius. A small stock of ideas is more easily managed, and sooner displayed, than a great quantity crowded together. There is very seldom anything extraordinary in the appearance and address of a good writer; whereas a dull author generally distinguishes himself by some oddity or extravagance. For this reason 1 fancy that an assembly of Grubs must be very diverting.'
   "My curiosity being excited by this hint, I consulted my friend Dick Ivy, who undertook to gratify it the very next day, which was Sunday last. Ho carried me to dine with S———, whom you and I have long known by his writings. He lives in the skirts of the town; and every Sunday his house is open to all unfortunate brothers of the quill, whom he treats with beef, pudding, and potatoes, port, punch, and Calvert's entire butt beer. He has fixed upon the first day of the week for the exercise of his hospitality, because some of his guests could not enjoy it on any other, for reasons that I need not explain. I was civilly received in a plain, yet decent habitation, which opened backwards into a very pleasant garden, kept in excellent order; and, indeed, I saw none of the outward signs of authorship either in the house or the landlord, who is one of those few writers of the age that stand upon their own foundation, without patronage, and above dependence. If there was nothing characteristic in the entertainer, the company made ample amends for his want of singularity.
   "At two in the afternoon, I found myself one of ten messmates seated at table; and I question if the whole kingdom could produce such another assemblage of originals. Among their peculiarities, I do not mention those of dress, which may be purely accidental. What struck me were oddities originally produced by affectation, and afterwards confirmed by habit. One of them wore spectacles at dinner, and another his hat flapped; though (as Ivy told me) the first was noted for having a seaman's eye, when a bailiff was in the wind; and the other was never known to labour under any weakness or defect of vision, except about five years ago, when he was complimented with a couple of black eyes by a player, with whom he had quarrelled in his drink. A third wore a laced stocking, and made use of crutches, because, once in his life, he had been laid up with a broken leg, though no man could leap over a stick with more agility. A fourth had contracted such an antipathy to the country, that he insisted upon sitting with his back towards the window that looked into the garden; and when a dish of cauliflower was set upon the table, he snuffed up volatile salts to keep him from fainting; yet this delicate person was the son of a cottager, born under a hedge, and had many years run wild among asses on a common. A fifth affected distraction: when spoke to, he always answered from the purpose. Sometimes he suddenly started up, and rapped out a dreadful oath; sometimes he burst out a laughing; then he folded his arms, and sighed; and then he hissed like fifty serpents.
   "At first, I really thought he was mad; and, as he sat near me, began to be under some apprehensions for my own safety; when our landlord, perceiving me alarmed, assured me aloud that I had nothing to fear, 'The gentleman,' said he, 'is trying to act a part for which he is by no means qualified: if he had all the inclination in the world, it is not in his power to be mad; his spirits are too flat to be kindled into phrenzy. ''Tis no bad p-p-puff, how-owever,' observed a person in a tarnished laced coat: 'aff-ffected m-madness w-will p-pass for w-wit w-with nine-ninet-teen out of t-twenty' 'And affected stuttering for humour,' replied our landlord; 'though, God knows! there is no affinity betwixt them.' It seems, this wag, after having made some abortive attempts in plain speaking, had recourse to this defect, by means of which he frequently extorted the laugh of the company, without the least expense of genius; and that imperfection, which he had at first counterfeited, was now become so habitual, that he could not lay it aside.
   "A certain winking genius, who wore yellow gloves at dinner, had, on his first introduction, taken such offence at S———, because he looked and talked, and ate and drank, like any other man, that he spoke contemptuously of his understanding ever after, and never would repeat his visit, until he had exhibited the following proof of his caprice. Wat Wyvil, the poet, having made some unsuccessful advances towards an intimacy with S———, at last gave him to understand, by a third person, that he had written a poem in his praise, and a satire against his person: that if he would admit him to his house, the first should be immediately sent to press; but that if he persisted in declining his friendship, he would publish the satire without delay. S——— replied, that he looked upon Wyvil's panegyric as, in effect, a species of infamy, and would resent it accordingly with a good cudgel; but if he published the satire, he might deserve his compassion, and had nothing to fear from his revenge. Wyvil having considered the alternative, resolved to mortify S——— by printing the panegyric, for which he received a sound drubbing. Then he swore the peace against the aggressor, who, in order to avoid a prosecution at law, admitted him to his good graces. It was the singularity in S———'s conduct, on this occasion, that reconciled him to the yellow-gloved philosopher, who owned he had some genius; and from that period cultivated his acquaintance.
   "Curious to know upon what subjects the several talents of my fellow-guests were employed, I applied to my communicative friend Dick Ivy, who gave me to understand, that most of them were, or had been, understrappers, or journeymen, to more creditable authors, for whom they translated, collated, and compiled, in the business of bookmaking; and that all of them had, at different times, laboured in the service of our landlord, though they had now set up for themselves in various departments of literature. Not only their talents, but also their nations and dialects, were so various, that our conversation resembled the confusion of tongues at Babel. We had the Irish brogue, the Scotch accent, and foreign idiom, twanged off by the most discordant vociferation; for as they all spoke together, no man had any chance to be heard, unless he could bawl louder than his fellows. It must be owned, however, there was nothing pedantic in their discourse; they carefully avoided all learned disquisitions, and endeavoured to be facetious: nor did their endeavours always miscarry; some droll repartee passed, and much laughter was excited; and if any individual lost his temper so far as to transgress the bounds of decorum, he was effectually checked by the master of the feast, who exerted a sort of paternal authority over this irritable tribe.
   "The most learned philosopher of the whole collection, who had been expelled the university for atheism, has made great progress in a refutation of Lord Bolingbroke's metaphysical works, which is said to be equally ingenious and orthodox: but, in the mean time, he has been presented to the grand jury as a public nuisance for having blasphemed in an alehouse on the Lord's-day. The Scotchman gives lectures on the pronunciation of the English language, which he is now publishing by subscription.
   "The Irishman is a political writer, and goes by the name of My Lord Potatoe. He wrote a pamphlet in vindication of a minister, hoping his zeal would be rewarded with some place or pension: but finding himself neglected in that quarter, he whispered about that the pamphlet was written by the minister himself, and he published an answer to his own production. In this he addressed the author under the title of 'your lordship,' with such solemnity, that the public swallowed the deceit, and bought up the whole impression. The wise politicians of the metropolis declared they were both masterly performances, and chuckled over the flimsy reveries of an ignorant garretteer, as the profound speculations of a veteran statesman, acquainted with all the secrets of the cabinet. The imposture was detected in the sequel, and our Hibernian pamphleteer retains no part of his assumed importance but the bare title of 'my lord,' and the upper part of the table at the potatoe-ordinary in Shoe-lane.
   "Opposite to me sat a Piedmontese, who had obliged the public with a humorous satire, entitled 'The Balance of the English Poets;' a performance which evinced the great modesty and taste of the author, and, in particular, his intimacy with the elegancies of the English language, The sage, who laboured under the αγροφοβια, or 'horror of green fields,' had just finished a treatise on practical agriculture, though, in fact, he had never seen corn growing in his life, and was so ignorant of grain, that our entertainer, in the face of the whole company, made him own that a plate of hominy was the best rice-pudding he had ever eat.
   "The stutterer had almost finished his travels through Europe and part of Asia, without ever budging beyond the liberties of the King's-bench, except in term-time, with a tipstaff for his companion: and as for little Tim Cropdale, the most facetious member of the whole society, he had happily wound up the catastrophe of a virgin tragedy, from the exhibition of which he promised himself a large fund of profit and reputation. Tim had made shift to live many years by writing novels, at the rate of five pounds a volume; but that branch of business is now engrossed by female authors, who publish merely for the propagation of virtue, with so much ease, and spirit, and delicacy, and knowledge of the human heart, and all in the serene tranquillity of high life, that the reader is not only enchanted by their genius, but reformed by their morality.
   "After dinner, we adjourned into the garden, where I observed Mr. S——— give a short separate audience to every individual in a small remote filbert-walk, from whence most of them dropped off one after another, without further ceremony."
   Smollett's house was in Lawrence-lane, Chelsea, and is now destroyed. See Handbook of London, p. 115.
   "The person of Smollett was eminently handsome, his features prepossessing, and, by the joint testimony of all his surviving friends, his conversation, in the highest degree, instructive and amusing. Of his disposition, those who have read his works (and who has not?) may form a very accurate estimate; for in each of them he has presented, and sometimes, under various points of view, the leading features of his own character without disguising the most unfavourable of them. . . . . . . When unseduced by his satirical propensities, he was kind, generous, and humane to others; bold, upright, and independent in his own character; stooped to no patron, sued for no favour, but honestly and honourably maintained himself on his literary labours. . . . . . . He was a doating father, and an affectionate husband; and the warm zeal with which his memory was cherished by his surviving friends, showed clearly the reliance which they placed upon his regard,"—Sir Walter Scott.

9. Smollett of Bonhill, in Dumbartonshire. Arms, az. "a bend, or between a lion rampant, ppr, holding in his paw a banner, arg. . . . . . and a bugle-horn, also ppr. Crest, an oak-tree, ppr. Motto, Viresco."
   Smollett's father, Archibald, was the fourth son of Sir James Smollett of Bonhill, a Scotch judge and member of Parliament, and one of the commissioners for framing the Union with England. Archibald married, without the old gentleman's consent, and died early, leaving his children dependent on their grandfather. Tobias, the second son, was born in 1721, in the old house of Dalquharn in the valley of Leven; and all his life loved and admired that valley and Loch Lomond beyond all the valleys and lakes in Europe. He learned the "rudiments" at Dumbarton Grammar-school, and studied at Glasgow.
   But when he was only eighteen, his grandfather died, and left him without provision (figuring as the old judge in "Roderick Random" in consequence, according to Sir Walter). Tobias, armed with the "Regicide," a tragedy—a provision precisely similar to that with which Dr. Johnson had started, just before—came up to London. The "Regicide" came to no good, though at first patronised by Lord Lyttleton ("one of those little fellows who are sometimes called great men," Smollett says); and Smollett embarked as "surgeon's mate" on board a line-of-battle ship, and served in the Carthagena expedition, in 1741. He left the service in the West Indies, and, after residing some time in Jamaica, returned to England in 1746.
   He was now unsuccessful as a physician, to begin with; published the satires, "Advice" and "Reproof"—without any luck; and (1747) married the "beautiful and accomplished Miss Lascelles."
   In 1748 he brought out his "Roderick Random," which at once made a "hit" The subsequent events of his life may be presented, chronologically, in a bird's-eye view:—
   1750. Made a tour to Paris, where he chiefly wrote "Peregrine Pickle."
   1751. Published "Peregrine Pickle."
   1753. Published "Adventures of Ferdinand Count Fathom."
   1755. Published version of "Don Quixote."
   1756. Began the "Critical Review."
   1758. Published his "History of England."
   1763—1766. Travelling in France and Italy; published his "Travels."
   1769. Published "Adventures of an Atom."
   1770. Set out for Italy; died at Leghorn 21st of Oct., 1771, in the fifty-first year of his age.
10. A good specimen of the old "slashing" style of writing is presented by the paragraph on Admiral Knowles, which subjected Smollett to prosecution and imprisonment, The admiral's defence on the occasion of the failure of the Rochfort expedition came to be examined before the tribunal of the "Critical Review."
    "He is," said our author, "an admiral without conduct, an engineer without knowledge, an officer without resolution, and a man without veracity!"
    Three months' imprisonment in the King's Bench avenged this stinging paragraph.
    But the "Critical" was to Smollett a perpetual fountain of "hot water," Among less important controversies may be mentioned that with Grainger, the translator of "Tibullus." Grainger replied in a pamphlet; and in the next number of the "Review" we find him threatened with "castigation," as an "owl that has broken from his mew!"
    In Dr. Moore's biography of him, is a pleasant anecdote. After publishing the "Don Quixote," he returned to Scotland to pay a visit to his mother:—
    "On Smollett's arrival, he was introduced to his mother with the connivance of Mrs. Telfer (her daughter), as a gentleman from the West Indies, who was intimately acquainted with her son. The better to support his assumed character, he endeavoured to preserve a serious countenance, approaching to a frown; but while his mother's eyes were riveted on his countenance, he could not refrain from smiling: she immediately sprung from her chair, and throwing her arms round his neck, exclaimed, 'Ah, my son! my son! I have found you at last!'
    "She afterwards told him, that if he had kept his austere looks and continued to gloom, he might have escaped detection some time longer, but 'your old roguish smile,' added she, 'betrayed you at once.'"
    "Shortly after the publication of 'The Adventures of an Atom,' disease again attacked Smollett with redoubled violence. Attempts being vainly made to obtain for him the office of Consul, in sone part of the Mediterranean, he was compelled to seek a warmer climate, without better means of provision than his own precarious finances could afford. The kindness of his distinguished friend and countryman, Dr. Armstrong (then abroad), procured for Dr. and Mrs. Smollett a house at Monte Nero, a village situated on the side of a mountain overlooking the sea, in the neighbourhood of Leghorn, a romantic and salutary abode, where he prepared for the press, the last, and like music 'sweetest in the close,' the most pleasing of his compositions, 'The Expedition of Humphrey Clinker.' This delightful work was published in 1771."—Sir Walter Scott.
11. The dispute with the captain arose from the wish of that functionary to intrude on his right to his cabin, for which he had paid thirty pounds. After recounting the circumstances of the apology, he characteristically adds:—
    "And here, that I may not be thought the sly trumpeter of my own praises, I do utterly disclaim all praise on the occasion. Neither did the greatness of my mind dictate, nor the force of my Christianity exact this forgiveness. To speak truth, I forgave him from a motive which make men much more forgiving, if they were much wiser than they are; because it was convenient for me so to do."
12. Lady Mary was his second cousin—their respective grandfathers being sons of George Fielding, Earl of Desmond, son of William, Earl of Denbigh.
    In a letter dated just a week before his death, she says,—
    "H. Fielding has given a true picture of himself and his first wife in the characters of Mr. and Mrs. Booth, some compliments to his own figure excepted; and I am persuaded, several of the incidents he mentions are real matters of fact. I wonder he does not perceive Tom Jones and Mr. Booth are sorry scoundrels. . . . Fielding has really a fund of true humour, and was to be pitied at his first entrance into the world, having no choice, as he said himself, but to be a hackney writer or a hackney coachman. His genius deserved a better fate; but I cannot help blaming that continued indiscretion, to give it the softest name, that has run through his life, and I am afraid still remains. . . .Since I was born no original has appeared excepting Congreve, and Fielding, who would, I believe, have approached nearer to his excellencies, if not forced by his necessities to publish without correction, and throw many productions into the world he would have thrown into the five, if meat could have been got without money, or money without scribbling. . . . I am sorry not to see any more of Peregrine Pickle's performances; I wish you would tell me his name."—Letters and Works (Lord Wharncliffe's Ed.) vol iii. p. 93, 94.
13. He sailed for Lisbon, from Gravesend, on Sunday morning, June 30th, 1754; and began the "Journal of a Voyage" during the passage. He died at Lisbon, in the beginning of October of the same year. He lies buried there, in the English Protestant church-yard, near the Estrella Church, with this inscription over him:—
    "HENRICUS FIELDING,
    LUGET BRITANNIA GREMIO NON DATUM
    FOVERE NATUM."
    
    
14. Fielding himself is said by Dr. Warton to have preferred "Joseph Andrews" to his other writings.
15. "Richardson," says worthy Mrs. Barbauld, in her Memoir of him, prefixed to his Correspondence, "was exceedingly hurt at this ('Joseph Andrews'), the more so as they had been on good terms, and he was very intimate with Fielding's two sisters. He never appears cordially to have forgiven it (perhaps it was not in human nature he should), and he always speaks in his letters with a great deal of asperity of 'Tom Jones,' more indeed than was quite graceful in a rival author. No doubt he himself thought his indignation was solely excited by the loose morality of the work and of its author, but he could tolerate Cibber."
16. It must always be borne in mind, that besides that the Doctor couldn't be expected to like Fielding's wild life (to say nothing of the fact, that they were of opposite sides in politics), Richardson was one of his earliest and kindest friends. Yet Johnson too (as Boswell tells us) read "Amelia" through without "stopping."
17. "Manners change from generation to generation, and with manners morals appear to change,—actually change with some, but appear to change with all but the abandoned. A young man of the present day who should act as Tom Jones is supposed to act at Upton, with Lady Bellaston, &c., would not be a Tom Jones; and a Tom Jones of the present day, without perhaps being in the ground a better man, would have perished rather than submit to be kept by a harridan of fortune. Therefore, this novel is, and indeed, pretends to be, no example of conduct. But, notwithstanding all this, I do loathe the cant which can recommend "Pamela" and "Clarissa Harlowe" as strictly moral, although they poison the imagination of the young with continued doses of tinct. lyttæ, while Tom Jones is prohibited as loose. I do not speak of young women; but a young man whose heart or feelings can be injured, or even his passions excited by this novel, is already thoroughly corrupt. There is a cheerful, sunshiny, breezy spirit, that prevails everywhere, strongly contrasted with the close, hot, day-dreamy continuity of Richardson."—Coleridge, Literary Remains, vol. ii. p. 374.
18. "Nor was she (Lady Mary Wortley Montagu) a stranger to that beloved first wife, whose picture he drew in his 'Amelia,' when, as she said, even the glowing language he knew how to employ, did not do more than justice to the amiable qualities of the original, or to her beauty, although this had suffered a little from the accident related in the novel,—a frightful overturn, which destroyed the gristle of her nose. He loved her passionately, and she returned his affection. . . .
    "His biographers seem to have been shy of disclosing that after the death of this charming woman, he married her maid. And yet the act was not so discreditable to his character as it may sound. The maid had few personal charms, but was an excellent creature, devotedly attached to her mistress, and almost broken-hearted for her loss. In the first agonies of his own grief, which approached to frenzy, he found no relief but from weeping along with her; nor solace when a degree calmer, but in talking to her of the angel they mutually regretted. This made her his habitual confidential associate, and in process of time he began to think he could not give his children a tenderer mother, or secure for himself a more faithful housekeeper and nurse. At least, this was what he told his friends; and it is certain that her conduct as his wife confirmed it, and fully justified his good opinion."—Letters and Works of Lady Mary Wortley Montagu. Edited by Lord Wharncliffe. Introductory Anecdotes, vol. i. p. 80, 81.
    Fielding's first wife was Miss Craddock, a young lady from Salisbury, with a fortune of 1500l, whom he married in 1736. About the same time he succeeded, himself, to an estate of 200l, per annum, and on the joint amount he lived for some time as a splendid country gentleman in Derbyshire. Three years brought him to the end of his fortune; when he returned to London, and became a student of law.
19. In the "Gentleman's Magazine" for 1786, an anecdote is related of Harry Fielding, "in whom," says the correspondent, "good-nature and philauthropy in their extreme degree were known to be the prominent features." It seems that "some parochial taxes" for his house in Beaufort Buildings had long been demanded by the collector. "At last, Harry went off to Johnson, and obtained by a process of literary mortgage the needful sum. He was returning with it, when he met an old college chum whom he had not seen for many years. He asked the chum to dinner with him at a neighbouring tavern; and learning that he was in difficulties, emptied the contents of his pocket into his. On returning home he was informed that the collector had been twice for the money. 'Friendship has called for the money and had it,' said Fielding, 'let the collector call again.'"
    It is elsewhere told of him, that being in company with the Earl of Denbigh, his kinsman, and the conversation turning upon their relationship, the Earl asked him how it was that he spelled his name "Fielding," and not "Feilding," like the head of the house? "I cannot tell, my lord," said he, "except it be that my branch of the family were the first that knew how to spell."
20. In 1749, he was made Justice of the Peace for Westminster and Middlesex, an office then paid by fees, and very laborious, without being particularly reputable. It may be seen from his own words, in the Introduction to the "Voyage," what kind of work devolved upon him and in what a state he was, during these last years; and still more clearly, how he comported himself through all.
    "Whilst I was preparing for my journey, and when I was almost fatigued to death with several long examinations, relating to five different murders, all committed within the space of a week, by different gangs of street-robbers, I received a message from his Grace the Duke of Newcastle, by Mr. Carrington, the King's messenger, to attend his Grace the next morning in Lincoln's Inn Fields, upon some business of importance: but I excused myself from complying with the message, as besides being lame, I was very ill with the great fatigues I had lately undergone, added to my distemper.
    "His Grace, however, sent Mr. Carrington the very next morning, with another summons; with which, though in the utmost distress, I immediately complied; but the Duke happening, unfortunately for me, to be then particularly engaged, after I had waited some time, sent a gentleman to discourse with me on the best plan which could be invented for these murders and robberies, which were every day committed in the streets; upon which I promised to transmit my opinion, in writing, to his Grace, who, as the gentleman informed me, intended to lay it before the Privy Council.
    "Though this visit cost me a severe cold, I, notwithstanding, set myself down to work, and in about four days sent the Duke as regular a plan as I could form, with all the reasons and arguments I could bring to support it, drawn out on several sheets of paper; and soon received a message from the Duke, by Mr. Carrington, acquainting me that my plan was highly approved of, and that all the terms of it would be complied with.
    The principal and most material of these terms was the immediately depositing 600l, in my hands; at which small charge I undertook to demolish the then reigning gangs, and to put the civil policy into such order, that no such gangs should ever be able for the future, to form themselves into bodies, or at least to remain any time formidable to the public.
    "I had delayed my Bath journey for some time, contrary to the repeated advice of my physical acquaintances, and the ardent desire of my warmest friends, though my distemper was now turned to a deep jaundice; in which case the Bath-waters are generally reputed to be almost infallible. But I had the most eager desire to demolish this gang of villains and cut-throats. . . .
    "After some weeks the money was paid at the Treasury, and within a few days, after 200l. of it had come to my hands, the whole gang of cut-throats was entirely dispersed." . . .
    Further on, he says,—
    "I will confess that my private affairs at the beginning of the winter had but a gloomy aspect; for I had not plundered the public or the poor of those sums, which men who are always ready to plunder both as much as they can, have been pleased to suspect me of taking; on the contrary, by composing, instead of inflaming, the quarrels of porters and beggars (which I blush when I say hath not been universally practised), and by refusing to take a shilling from a man who most undoubtedly would not have had another left, I had reduced an income of about 500l. a year of the dirtiest money upon earth, to little more than 300l, a considerable portion of which remained with my clerk."

Errata

1. Original: as the clerk was amended to and the clerk: detail
2. Original: 1800 was amended to 1847: detail
3. Original: wild was amended to Welsh: detail
4. Original: wine-stained was amended to wine. Stained,: detail
5. Original: him was amended to them: detail

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