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Henry Fielding

Henry Fielding (born April 22, 1707, Sharpham Park, Somerset, Eng.—died Oct. 8, 1754, Lisbon), novelist and playwright, who, with Samuel Richardson, is considered a founder of the English novel. Among his major novels are Joseph Andrews (1742) and Tom Jones (1749).

Early life.

Fielding was born of a family that by tradition traced its descent to a branch of the Habsburgs. The 1st earl of Denbigh, William Fielding, was a direct ancestor, while Henry’s father, Col. Edmund Fielding, had served under John Churchill, duke of Marlborough, an early 18th-century general, “with much bravery and reputation.” His mother was a daughter of Sir Henry Gould, a judge of the Queen’s Bench, from whom she inherited property at East Stour, in Dorset, where the family moved when Fielding was three years old. His mother died just before his 11th birthday. His father having married again, Fielding was sent to Eton College, where he laid the foundations of his love of literature and his considerable knowledge of the classics. There he befriended George Lyttelton, who was later to be a statesman and an important patron to him.

Leaving school at 17, a strikingly handsome youth, he settled down to the life of a young gentleman of leisure; but four years later, after an abortive elopement with an heiress and the production of a play at the Drury Lane Theatre in London, he resumed his classical studies at the University of Leiden in Holland. After 18 months he had to return home because his father was no longer able to pay him an allowance. “Having,” as he said, “no choice but to be a hackney-writer or a hackney-coachman,” he chose the former and set up as playwright. In all, he wrote some 25 plays. Although his dramatic works have not held the stage, their wit cannot be denied. He was essentially a satirist; for instance, The Author’s Farce (1730) displays the absurdities of writers and publishers, while Rape upon Rape (1730) satirizes the injustices of the law and lawyers. His target was often the political corruption of the times. In 1737 he produced at the Little Theatre in the Hay (later the Haymarket Theatre), London, his Historical Register, For the Year 1736, in which the prime minister, Sir Robert Walpole, was represented practically undisguised and mercilessly ridiculed. It was not the first time Walpole had suffered from Fielding’s pen, and his answer was to push through Parliament the Licensing Act, by which all new plays had to be approved and licensed by the lord chamberlain before production.As a barrister, Fielding, who rode the Western Circuit (a judicial subdivision of England) twice a year, had little success. In 1740, however, Samuel Richardson published his novel Pamela: or, Virtue Rewarded, which tells how a servant girl so impressed her master by resistance to his every effort at seduction that in the end “he thought fit to make her his wife.” Something new in literature, its success was unparalleled. A crop of imitations followed. In April 1741 there appeared a parody entitled An Apology for the Life of Mrs. Shamela Andrews, satirizing Richardson’s sentimentality and prudish morality. It was published anonymously and, though Fielding never claimed it, Shamela was generally accepted as his work in his lifetime, and stylistic evidence supports the attribution.The History of Tom Jones, a Foundling was published on Feb. 28, 1749. With its great comic gusto, vast gallery of characters, and contrasted scenes of high and low life in London and the provinces, it has always constituted the most popular of his works. Like its predecessor, Joseph Andrews, it is constructed around a romance plot. The hero, whose true identity remains unknown until the denouement, loves the beautiful Sophia Western, and at the end of the book he wins her hand. Numerous obstacles have to be overcome before he achieves this, however, and in the course of the action the various sets of characters pursue each other from one part of the country to another, giving Fielding an opportunity to paint an incomparably vivid picture of England in the mid-18th century. The introductory chapters at the beginning of each Book make it clear how carefully Fielding had considered the problem of planning the novel. No novelist up until then had so clear an idea of what a novel should be, so that it is not surprising that Tom Jones is a masterpiece of literary engineering. The characters fall into several distinct groups—romance characters, villainous characters, Jonsonian “humours,” “low” comic characters, and the virtuous Squire Allworthy, who remains in the background and emerges to ensure the conventional happy ending. The novel is further marked by deft alternations between humour and romance, occasional tricks straight from the theatre, and above all the speed and ease of the dialogue. The reading of this work is essential both for an understanding of 18th-century England and for its revelation of the generosity and charity of Fielding’s view of humanity.Two years later Amelia was published. Being a much more sombre work, it has always been less popular than Tom Jones and Joseph Andrews. Fielding’s mind must have been darkened by his experiences as a magistrate, as it certainly had been by his wife’s death, and Amelia is no attempt at the comic epic poem in prose. Rather, it anticipates the Victorian domestic novel, being a study of the relationship between a man and his wife and, in the character of Amelia, a celebration of womanly virtues. It is also Fielding’s most intransigent representation of the evils of the society in which he lived, and he clearly finds the spectacle no longer comic.

His health was deteriorating. By 1752 his gout was so bad that his legs were swathed in bandages, and he often had to use crutches or a wheelchair. In August of 1753 he decided to go to Bath for rest and the waters. That year was a particularly bad one for crime in London, however, and on the eve of his leaving he was invited by Thomas Pelham-Holles, Duke of Newcastle (then secretary of war), to prepare a plan for the Privy Council for the suppression of “those murders and robberies which were every day committed in the streets.” His plan, undertaking “to demolish the then reigning gangs” and to establish means of preventing their recurrence, was accepted, and despite the state of his health—to gout had been added asthma and dropsy—he stayed in London for the rest of the year, waging war against criminal gangs with such success that “there was, in the remaining month of November, and in all December, not only no such thing as a murder, but not even a street-robbery committed.”

Sir Walter Scott called Henry Fielding the “father of the English novel,” and the phrase still indicates Fielding’s place in the history of literature. Though not actually the first English novelist, he was the first to approach the genre with a fully worked-out theory of the novel; and in Joseph Andrews, Tom Jones, and Amelia, which a modern critic has called comic epic, epic comedy, and domestic epic, respectively, he had established the tradition of a realism presented in panoramic surveys of contemporary society that dominated English fiction until the end of the 19th century.
- Henry Fielding

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