The History of Tom Jones, a Foundling, Henry Fielding [best ereader under 100 TXT] 📗

able to read, have made a considerable figure in the republic of letters; the modern critics, I am told, have lately begun to assert that all kind of learning is entirely useless to a writer; and, indeed, no other than a kind of fetters on the natural sprightliness and activity of the imagination, which is thus weighed down, and prevented from soaring to those high flights which otherwise it would be able to reach.

This doctrine, I am afraid, is at present carried much too far: for why should writing differ so much from all other arts? The nimbleness of a dancing-master is not at all prejudiced by being taught to move; nor doth any mechanic, I believe, exercise his tools the worse by having learnt to use them. For my own part, I cannot conceive that Homer or Virgil would have writ with more fire, if instead of being masters of all the learning of their times, they had been as ignorant as most of the authors of the present age. Nor do I believe that all the imagination, fire, and judgment of Pitt could have produced those orations that have made the senate of England, in these our times, a rival in eloquence to Greece and Rome, if he had not been so well read in the writings of Demosthenes and Cicero as to have transferred their whole spirit into his speeches, and, with their spirit, their knowledge too.

I would not here be understood to insist on the same fund of learning in any of my brethren as Cicero persuades us is necessary to the composition of an orator. On the contrary, very little reading is, I conceive, necessary to the poet, less to the critic, and the least of all to the politician. For the first, perhaps, Byshe’s Art of Poetry, and a few of our modern poets, may suffice; for the second, a moderate heap of plays; and, for the last, an indifferent collection of political journals.

To say the truth, I require no more than that a man should have some little knowledge of the subject on which he treats, according to the old maxim of law, Quam quisque nôrit artem in eâ se exerceat. With this alone a writer may sometimes do tolerably well; and, indeed, without this, all the other learning in the world will stand him in little stead.

For instance, let us suppose that Homer and Virgil, Aristotle and Cicero, Thucydides and Livy, could have met all together, and have clubbed their several talents to have composed a treatise on the art of dancing: I believe it will be readily agreed they could not have equalled the excellent treatise which Mr. Essex hath given us on that subject, entitled, The Rudiments of Genteel Education. And, indeed, should the excellent Mr. Broughton be prevailed on to set fist to paper, and to complete the above-said rudiments, by delivering down the true principles of athletics, I question whether the world will have any cause to lament that none of the great writers, either ancient or modern, have ever treated about that noble and useful art.

To avoid a multiplicity of examples in so plain a case, and to come at once to my point, I am apt to conceive that one reason why many English writers have totally failed in describing the manners of upper life, may possibly be that in reality they know nothing of it.

This is a knowledge unhappily not in the power of many authors to arrive at. Books will give us a very imperfect idea of it; nor will the stage a much better: the fine gentleman formed upon reading the former will almost always turn out a pedant, and he who forms himself upon the latter, a coxcomb.

Nor are the characters drawn from these models better supported. Vanbrugh and Congreve copied nature; but they who copy them draw as unlike the present age as Hogarth would do if he was to paint a rout or a drum in the dresses of Titian and of Vandyke. In short, imitation here will not do the business. The picture must be after Nature herself. A true knowledge of the world is gained only by conversation, and the manners of every rank must be seen in order to be known.

Now it happens that this higher order of mortals is not to be seen, like all the rest of the human species, for nothing, in the streets, shops, and coffeehouses; nor are they shown, like the upper rank of animals, for so much apiece. In short, this is a sight to which no persons are admitted without one or other of these qualifications, viz., either birth or fortune, or, what is equivalent to both, the honourable profession of a gamester. And, very unluckily for the world, persons so qualified very seldom care to take upon themselves the bad trade of writing; which is generally entered upon by the lower and poorer sort, as it is a trade which many think requires no kind of stock to set up with.

Hence those strange monsters in lace and embroidery, in silks and brocades, with vast wigs and hoops; which, under the name of lords and ladies, strut the stage, to the great delight of attorneys and their clerks in the pit, and of the citizens and their apprentices in the galleries; and which are no more to be found in real life than the centaur, the chimera, or any other creature of mere fiction. But to let my reader into a secret, this knowledge of upper life, though very necessary for preventing mistakes, is no very great resource to a writer whose province is comedy, or that kind of novels which, like this I am writing, is of the comic class.

What Mr. Pope says of women is very applicable to most in this station, who are, indeed, so entirely made up of form and affectation, that they have no character at all, at least none which appears. I will