Henry Fielding. (1707–1754). The History of Tom Jones.
The Harvard Classics Shelf of Fiction. 1917.
IV. Containing the Time of a Year
A
For as this is the liquor of modern historians, nay, perhaps their muse, if we may believe the opinion of Butler, who attributes inspiration to ale, it ought likewise to be the potation of their readers, since every book ought to be read with the same spirit and in the same manner as it is writ. Thus the famous author of Hurlothrumbo told a learned bishop, that the reason his lordship could not taste the excellence of his piece was, that he did not read it with a fiddle in his hand; which instrument he himself had always had in his own, when he composed it.
That our work, therefore, might be in no danger of being likened to the labours of these historians, we have taken every occasion of interspersing through the whole sundry similes, descriptions, and other kind of poetical embellishments. These are, indeed, designed to supply the place of the said ale, and to refresh the mind, whenever those slumbers, which in a long work are apt to invade the reader as well as the writer, shall begin to creep upon him. Without interruptions of this kind, the best narrative of plain matter of fact must overpower every reader; for nothing but the everlasting watchfulness, which Homer has ascribed only to Jove himself, can be proof against a newspaper of many volumes.
We shall leave to the reader to determine with what judgment we have chosen the several occasions for inserting those ornamental parts of our work. Surely it will be allowed that none could be more proper than the present, where we are about to introduce a considerable character on the scene; no less, indeed, than the heroine of this heroic, historical, prosaic poem. Here, therefore, we have thought proper to prepare the mind of the reader for her reception, by filling it with every pleasing image which we can draw from the face of nature. And for this method we plead many precedents. First, this is an art well known to, and much practised by, our tragick poets, who seldom fail to prepare their audience for the reception of their principal characters.
Thus the heroe is always introduced with a flourish of drums and trumpets, in order to rouse a martial spirit in the audience, and to accommodate their ears to bombast and fustian, which Mr. Locke’s blind man would not have grossly erred in likening to the sound of a trumpet. Again, when lovers are coming forth, soft music often conducts them on the stage, either to soothe the audience with the softness of the tender passion, or to lull and prepare them for that gentle slumber in which they will most probably be composed by the ensuing scene.
And not only the poets, but the masters of these poets, the managers of playhouses, seem to be in this secret; for, besides the aforesaid kettle-drums, &c., which denote the heroe’s approach, he is generally ushered on the stage by a large troop of half a dozen scene-shifters; and how necessary these are imagined to his appearance, may be concluded from the following theatrical story:—
King Pyrrhus was at dinner at an ale-house bordering on the theatre, when he was summoned to go on the stage. The heroe, being unwilling to quit his shoulder of mutton, and as unwilling to draw on himself the indignation of Mr. Wilks (his brother-manager) for making the audience wait, had bribed these his harbingers to be out of the way. While Mr. Wilks, therefore, was thundering out, “Where are the carpenters to walk on before King Pyrrhus?” that monarch very quietly eat his mutton, and the audience, however impatient, were obliged to entertain themselves with music in his absence.
To be plain, I much question whether the politician, who hath generally a good nose, hath not scented out somewhat of the utility of this practice. I am convinced that awful magistrate my lord-mayor contracts a good deal of that reverence which attends him through the year, by the several pageants which precede his pomp. Nay, I must confess, that even I myself, who am not remarkably liable to be captivated with show, have yielded not a little to the impressions of much preceding state. When I have seen a man strutting in a procession, after others whose business was only to walk before him, I have conceived a higher notion of his dignity than I have felt on seeing him in a common situation. But there is one instance, which comes exactly up to my purpose. This is the custom of sending on a basketwoman, who is to precede the pomp at a coronation, and to strew the stage with flowers, before the great personages begin their procession. The antients would certainly have invoked the goddess Flora for this purpose, and it would have been no difficulty for their priests, or politicians to have persuaded the people of the real presence of the deity, though a plain mortal had personated her and performed her office. But we have no such design of imposing on our reader; and therefore those who object to the healthen theology, may, if they please, change our goddess into the above-mentioned basket-woman. Our intention, in short, is to introduce our heroine with the utmost solemnity in our power, with an elevation of stile, and all other circumstances proper to raise the veneration of our reader. Indeed we would, for certain causes, advise those of our male readers who have any hearts, to read no farther, were we not well assured, that how amiable soever the picture of our heroine will appear, as it is really a copy from nature, many of our fair countrywomen will be found worthy to satisfy any passion, and to answer any idea of female perfection which our pencil will be able to raise.
And now, without any further preface, we proceed to our next chapter.