“On board the Queen of Portugal, Rich’d Veal at anchor on the Mother Bank, off Ryde, to the Care of the Post Master of Portsmouth — this is my Date and yr Direction.
“July 12 1754.
“Dear Jack, After receiving that agreeable Lre from Mess’rs Fielding and Co., we weighed on monday morning and sailed from Deal to the Westward. Four Days long but inconceivably pleasant Passage brought us yesterday to an Anchor on the Mother Bank, on the Back of the Isle of Wight, where we had last Night in Safety the Pleasure of hearing the Winds roar over our Heads in as violent a Tempest as I have known, and where my only Consideration were the Fears which must possess any Friend of ours, (if there is happily any such) who really makes our Wellbeing the Object of his Concern especially if such Friend should be totally inexperienced in Sea Affairs. I therefore beg that on the Day you receive this Mrs. Daniel [Footnote: It will be remembered that the maiden-name of Fielding’s second wife, as given in the Register of St. Bene’t’s, was Mary Daniel. “Mrs. Daniel” was therefore, in all probability, Fielding’s mother-in-law; and it may reasonably be assumed that she had remained in charge of the little family at Fordhook.] may know that we are just risen from Breakfast in Health and Spirits this twelfth Instant at 9 in the morning. Our Voyage hath proved fruitful in Adventures all which being to be written in the Book, you must postpone yr. Curiosity — As the Incidents which fall under yr Cognizance will possibly be consigned to Oblivion, do give them to us as they pass. Tell yr Neighbour I am much obliged to him for recommending me to the Care of a most able and experienced Seaman to whom other Captains seem to pay such Deference that they attend and watch his Motions, and think themselves only safe when they act under his Direction and Example. Our Ship in Truth seems to give Laws on the Water with as much Authority and Superiority as you Dispense Laws to the Public and Examples to yr Brethren in Commission. Please to direct yr Answer to me on Board as in the Date, if gone to be returned, and then send it by the Post and Pacquet to Lisbon to
“Yr affect Brother
“H. FIELDING
“To John Fielding Esq. at his House in
“Bow Street Covt Garden London.”
As the Queen of Portugal did not leave Ryde until the 23d, it is possible that Fielding received a reply. During the remainder of this desultory voyage he continued to beguile his solitary hours — hours of which we are left to imagine the physical torture and monotony, for he says but little of himself — by jottings and notes of the, for the most part, trivial accidents of his progress. That happy cheerfulness, of which he spoke in the Proposal for the Poor, had not yet deserted him; and there are moments when he seems rather on a pleasure-trip than a forlorn pilgrimage in search of health. At Ryde, where, for change of air, he went ashore, he chronicles, after many discomforts from the most disobliging of landladies (let the name of Mrs. Francis go down to posterity!), “the best, the pleasantest, and the merriest meal, [in a barn] with more appetite, more real, solid luxury, and more festivity, than was ever seen in an entertainment at White’s.” At Torbay, he expatiates upon the merits and flavour of the John Dory, a specimen of which “gloriously regaled” the party, and furnished him with a pretext for a dissertation on the London Fish Supply. Another page he devotes to commendation of the excellent Vinum Pomonae, or Southam cyder, supplied by “Mr. Giles Leverance of Cheeshurst, near Dartmouth in Devon,” of which, for the sum of five pounds ten shillings, he extravagantly purchases three hogsheads, one for himself, and the others as presents for friends, among whom no doubt was kindly Mr. Welch. Here and there he sketches, with but little abatement of his earlier gaiety and vigour, the human nature around him. Of the objectionable Ryde landlady and her husband there are portraits not much inferior to those of the Tow-wouses in Joseph Andrews, while the military fop, who visits his uncle the captain off Spithead, is drawn with all the insight which depicted the vagaries of Ensign Northerton, whom indeed the real hero of the Journal not a little resembles. The best character sketch, however, in the whole is that of Captain Richard Veal himself (one almost feels inclined to wonder whether he was in any way related to the worthy lady whose apparition visited Mrs. Bargrave at Canterbury!), but it is of necessity somewhat dispersed. It has also an additional attraction, because, if we remember rightly, it is Fielding’s sole excursion into the domain of Smollett. The rough old sea-dog of the Haddock and Vernon period, who had been a privateer; and who still, as skipper of a merchant-man, when he visits a friend or gallants the ladies, decorates himself with a scarlet coat, cockade, and sword; who gives vent to a kind of Irish howl when his favourite kitten is suffocated under a feather bed; and falls abjectly on his knees when threatened with the dreadful name of Law, is a character which, in its surly good-humour and sensitive dignity, might easily, under more favourable circumstances, have grown into an individuality, if not equal to that of Squire Western, at least on a level with Partridge or Colonel Bath. There are numbers of minute touches — as, for example, his mistaking “a lion” for “Elias” when he reads prayers to the ship’s company; and his quaint asseverations when exercised by the inconstancy of the wind — which show how closely Fielding studied his deaf companion. But it would occupy too large a space to examine the Journal more in detail. It is sufficient to say that after some further delays from wind and tide, the travellers sailed up the Tagus. Here, having undergone the usual quarantine and custom-house obstruction, they landed, and Fielding’s penultimate words record a good supper at Lisbon, “for which we were as well charged, as if the bill had been made on the Bath Road, between Newbury and London.” The book ends with a line from the poet whom, in the Proposal for the Poor, he had called his master: —
“ — hic finis chartaeque viaeque.”
Two months afterwards he died at Lisbon, on the 8th of October, in the forty-eighth year of his age.
He was buried on the hillside in the centre of the beautiful English cemetery, which faces the great Basilica of the Heart of Jesus, otherwise known as the Church of the Estrella. Here, in a leafy spot where the nightingales fill the still air with song, and watched by those secular cypresses from which the place takes its Portuguese name of Os Cyprestes, lies all that was mortal of him whom Scott called the “Father of the English Novel.” His first tomb, which Wraxall found in 1772, “nearly concealed by weeds and nettles,” was erected by the English factory, in consequence mainly — as it seems — of a proposal made by an enthusiastic Chevalier de Meyrionnet, to provide one (with an epitaph) at his own expense. That now existing was substituted in 1830, by the exertions of the Rev. Christopher Neville, British Chaplain at Lisbon. It is a heavy sarcophagus, resting upon a large base, and surmounted by just such another urn and flame as that on Hogarth’s Tomb at Chiswick. On the front is a long Latin inscription; on the back the better-known words: —
LUGET BRITANNIA GREMIO NON DARI FOVERE NATUM. [Footnote: The fifth word is generally given as “datum.” But the above version, which has been verified at Lisbon, may be accepted as correct.]
It is to this last memorial that the late George Borrow referred in his Bible in Spain: —
“Let travellers devote one entire morning to inspecting the Arcos and the Mai das agoas, after which they may repair to the English church and cemetery, Pere-la-chaise in miniature, where, if they be of England, they may well be excused if they kiss the cold tomb, as I did, of the author of “Amelia,” the most singular genius which their island ever produced, whose works it has long been the fashion to abuse in public and to read in secret.”
Borrow’s book was first published in 1843. Of late years the tomb had been somewhat neglected; but from a communication in the Athenaeum of May 1879, it appears that it had then been recently cleaned, and the inscriptions restored, by order of the present chaplain, the Rev. Godfrey Pope.
There is but one authentic portrait of Henry Fielding. This is the pen- and-ink sketch drawn from memory by Hogarth, long after Fielding’s death, to serve as a frontispiece for Murphy’s edition of his works. It was
engraved in facsimile by James Basire, with such success that the artist is said to have mistaken an impression of the plate (without its emblematic border) for his own drawing. Hogarth’s sketch is the sole source of all the portraits, more or less “romanced,” which are prefixed to editions of Fielding; and also, there is good reason to suspect, of the dubious little miniature, still in possession of his descendants, which figures in Hutchins’s History of Dorset and elsewhere. More than one account has been given of the way in which the drawing was produced. The most effective, and, unfortunately, the most popular, version has, of course, been selected by Murphy. In this he tells us that Hogarth, being unable to recall his dead friend’s features, had recourse to a profile cut in paper by a lady, who possessed the happy talent which Pope ascribes to Lady Burlington. Her name, which is given in Nichols, was Margaret Collier, and she was possibly the identical Miss Collier who figures in Richardson’s Correspondence. Setting aside the fact that, as Hogarth’s eye-memory was marvellous, this story is highly improbable, it was expressly contradicted by George Steevens in 1781, and by John Ireland in 1798, both of whom, from their relations with Hogarth’s family, were likely to be credibly informed. Steevens, after referring to Murphy’s fable, says in the Biographical Anecdotes of William Hogarth, “I am assured that our artist began and finished the head in the presence of his wife and another lady. He had no assistance but from his own memory, which, on such occasions, was remarkably tenacious.” Ireland, in his Hogarth Illustrated, gives us as the simple fact the following:— “Hogarth being told, after his friend’s death, that a portrait was wanted as a frontispiece to his works, sketched this from memory.” According to the inscription on Basire’s plate, it represents Fielding at the age of forty-eight, or in the year of his death. This, however, can only mean that it represents him as Hogarth had last seen him. But long before he died, disease had greatly altered his appearance; and he must have been little more than the shadow of the handsome Harry Fielding, who wrote farces for Mrs. Clive, and heard the chimes at midnight. As he himself says in the Voyage to Lisbon, he had lost his teeth, and the consequent falling-in of the lips is plainly perceptible in the profile. The shape of the Roman nose, which Colonel James in Amelia irreverently styled a “proboscis,” would, however, remain unaltered, and it is still possible to divine a curl, half humorous, half ironic, in the short upper lip. The eye, apparently, was dark and deep-set. Oddly enough, the chin, to the length of which he had himself referred in the Champion, does not appear abnormal. [Footnote: In the bust of Fielding which Miss Margaret Thomas has been commissioned by Mr. R. A. Kinglake to execute for the Somerset Valhalla, the Shire-Hall at Taunton, these points have been carefully considered; and the sculptor has succeeded in producing a work which, while it suggests the mingling of humour and dignity that is Fielding’s chief characteristic, is also generally faithful to Hogarth’s indications. From these, indeed, it is impossible to deviate. Not only is his portrait unique; but it was admitted to be like Fielding by Fielding’s friends. The bust was placed in the Shire Hall, 4th September 1883.]
Beyond the fact that he was above six feet in height, and, until the gout had broken his constitution, unusually robust, Murphy adds nothing further to our idea of his personal appearance.
That other picture of his character, traced and retraced (often with much exaggeration of outline), is so familiar in English literature, that it cannot now be materially altered or amended. Yet it is impossible not to wish that it were derived from some less prejudiced or more trustworthy witnesses than those who have spoken, — say, for example, from Lyttelton or Allen. There are always signs that Walpole’s malice, and Smollett’s animosity, and the rancour of Richardson, have had too much to do with the representation; and even Murphy and Lady Mary are scarcely persons whom one would select as ideal biographers. The latter is probably right in comparing her cousin to Sir Richard Steele. Both were generous, kindly, brave, and sensitive; both were improvident; both loved women and little children; both sinned often, and had their moments of sincere repentance; to both was given that irrepressible hopefulness, and full delight of being which forgets to- morrow in to-day. That Henry Fielding was wild and reckless in his youth it would be idle to contest; — indeed it is an intelligible, if not a necessary, consequence of his physique and his temperament. But it is not fair to speak of him as if his youth lasted for ever. “Critics and biographers,” says Mr. Leslie Stephen, “have dwelt far too exclusively upon the uglier side of his Bohemian life;” and Fielding himself, in the Jacobite’s Journal, complains sadly that his enemies have traced his impeachment “even to his boyish Years.” That he who was prodigal as a lad was prodigal as a man may be conceded; that he who was sanguine at twenty would be sanguine at forty (although this is less defensible) may also be allowed. But, if we press for “better assurance than Bardolph,” there is absolutely no good evidence that Fielding’s career after his marriage materially differed from that of other men struggling for a livelihood, hampered with ill-health, and exposed to all the shifts and humiliations of necessity. If any portrait of him is to be handed down to posterity, let it be the last rather than the first; — not the Fielding of the green-room and the tavern — of Covent Garden frolics and “modern conversations;” but the energetic magistrate, the tender husband and father, the kindly host of his poorer friends, the practical philanthropist, the patient and magnanimous hero of the Voyage to Lisbon. If these things be remembered, it will seem of minor importance that to his dying day he never knew the value of money, or that he forgot his troubles over a chicken and champagne. And even his improvidence was not without its excusable side. Once — so runs the legend — Andrew Millar made him an advance to meet the claims of an importunate tax-gatherer. Carrying it home, he met a friend, in even worse straits than his own; and the money changed hands. When the tax- gatherer arrived there was nothing but the answer— “Friendship has called for the money and had it; let the collector call again.” Justice, it is needless to say, was satisfied by a second advance from the bookseller. But who shall condemn the man of whom such a story can be told?
The literary work of Fielding is so inextricably interwoven with what is known of his life that most of it has been examined in the course of the foregoing narrative. What remains to be said is chiefly in summary of what has been said already. As a dramatist he has no eminence; and though his plays do not deserve the sweeping condemnation with which Macaulay once spoke of them in the House of Commons, they are not likely to attract any critics but those for whom the inferior efforts of a great genius possess a morbid fascination. Some of them serve, in a measure, to illustrate his career; others contain hints and situations which he afterwards worked into his novels; but the only ones that possess real stage qualities are those which he borrowed from Regnard and Moliere. Don Quixote in England, Pasquin, the Historical Register, can claim no present consideration commensurate with that which they received as contemporary satires, and their interest is mainly antiquarian; while Tom Thumb and the Covent-Garden Tragedy, the former of which would make the reputation of a smaller man, can scarcely hope to be remembered beside Amelia or Jonathan Wild. Nor can it be admitted that, as a periodical writer, Fielding was at his best. In spite of effective passages, his essays remain far below the work of the great Augustans, and are not above the level of many of their less illustrious imitators. That instinct of popular selection, which retains a faint hold upon the Rambler, the Adventurer, the World, and the Connoisseur, or at least consents to give them honourable interment as “British Essayists” in a secluded corner of the shelves, has made no pretence to any preservation, or even any winnowing, of the Champion and the True Patriot. Fielding’s papers are learned and ingenious; they are frequently humorous; they are often earnest; but it must be a loiterer in literature who, in these days, except for antiquarian or biographical purposes, can honestly find it worth while to consult them. His pamphlets and projects are more valuable, if only that they prove him to have looked curiously
and sagaciously at social and political problems, and to have striven, as far as in him lay, to set the crooked straight. Their import, to-day, is chiefly that of links in a chain — of contributions to a progressive literature which has travelled into regions unforeseen by the author of the Proposal for the Poor, and the Inquiry into the Causes of the late Increase of Robbers. As such, they have their place in that library of Political Economy of which Mr. McCulloch has catalogued the riches. It is not, however, by his pamphlets, his essays, or his plays that Fielding is really memorable; it is by his triad of novels, and the surpassing study in irony of Jonathan Wild. In Joseph Andrews we have the first sprightly runnings of a genius that, after much uncertainty, had at last found its fitting vein, but was yet doubtful and undisciplined; in Tom Jones the perfect plan has come, with the perfected method and the assured expression. There is an inevitable loss of that fine waywardness which is sometimes the result of untrained effort, but there is the general gain of order, and the full production which results of art. The highest point is reached in Tom Jones, which is the earliest definite and authoritative manifestation of the modern novel. Its relation to De Foe is that of the vertebrate to the invertebrate: to Richardson, that of the real to the ideal — one might almost add, the impossible. It can be compared to no contemporary English work of its own kind; and if we seek for its parallel at the time of publication we must go beyond literature to art — to the masterpiece of that great pictorial satirist who was Fielding’s friend. In both Fielding and Hogarth there is the same constructive power, the same rigid sequence of cause and effect, the same significance of detail, the same side-light of allusion. Both have the same hatred of affectation and hypocrisy — the same unerring insight into character. Both are equally attracted by striking contrasts and comic situations; in both there is the same declared morality of purpose, coupled with the same sturdy virility of expression. One, it is true, leaned more strongly to tragedy, the other to comedy. But if Fielding had painted pictures, it would have been in the style of the Marriage a la Mode; if Hogarth had written novels, they would have been in the style of Tom Jones. In the gentler and more subdued Amelia, with its tender and womanly central-figure, there is a certain change of plan, due to altered conditions — it may be, to an altered philosophy of art. The narrative is less brisk and animated; the character-painting less broadly humorous; the philanthropic element more strongly developed. To trace the influence of these three great works in succeeding writers would hold us too long. It may, nevertheless, be safely asserted that there are few English novels of manners, written since Fielding’s day, which do not descend from him as from their fount and source; and that more than one of our modern masters betray unmistakable signs of a form and fashion studied minutely from their frank and manly ancestor.
Complete Fictional Works of Henry Fielding Page 439
