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

order to set off that beauty which they intend to show you in the evening.

Most artists have this secret in practice, though some, perhaps, have not much studied the theory. The jeweller knows that the finest brilliant requires a foil; and the painter, by the contrast of his figures, often acquires great applause.

A great genius among us will illustrate this matter fully. I cannot, indeed, range him under any general head of common artists, as he hath a title to be placed among those

Inventas qui vitam excoluere per artes.

Who by invented arts have life improved.

I mean here the inventor of that most exquisite entertainment, called the English Pantomime.

This entertainment consisted of two parts, which the inventor distinguished by the names of the serious and the comic. The serious exhibited a certain number of heathen gods and heroes, who were certainly the worst and dullest company into which an audience was ever introduced; and (which was a secret known to few) were actually intended so to be, in order to contrast the comic part of the entertainment, and to display the tricks of harlequin to the better advantage.

This was, perhaps, no very civil use of such personages; but the contrivance was, nevertheless, ingenious enough, and had its effect. And this will now plainly appear, if, instead of serious and comic, we supply the words duller and dullest; for the comic was certainly duller than anything before shown on the stage, and could be set off only by that superlative degree of dullness which composed the serious. So intolerably serious, indeed, were these gods and heroes, that harlequin (though the English gentleman of that name is not at all related to the French family, for he is of a much more serious disposition) was always welcome on the stage, as he relieved the audience from worse company.

Judicious writers have always practised this art of contrast with great success. I have been surprised that Horace should cavil at this art in Homer; but indeed he contradicts himself in the very next line:

Indignor quandoque bonus dormitat Homerus;
Verum opere in longo fas est obrepere somnum.

I grieve if e’er great Homer chance to sleep,
Yet slumbers on long works have right to creep.

For we are not here to understand, as perhaps some have, that an author actually falls asleep while he is writing. It is true, that readers are too apt to be so overtaken; but if the work was as long as any of Oldmixon, the author himself is too well entertained to be subject to the least drowsiness. He is, as Mr. Pope observes,

Sleepless himself to give his readers sleep.

To say the truth, these soporific parts are so many scenes of serious artfully interwoven, in order to contrast and set off the rest; and this is the true meaning of a late facetious writer, who told the public that whenever he was dull they might be assured there was a design in it.

In this light, then, or rather in this darkness, I would have the reader to consider these initial essays. And after this warning, if he shall be of opinion that he can find enough of Serious in other parts of this history, he may pass over these, in which we profess to be laboriously dull, and begin the following books at the second chapter.

II

In which Mr. Jones receives many friendly visits during his confinement; with some fine touches of the passion of love, scarce visible to the naked eye.

Tom Jones had many visitors during his confinement, though some, perhaps, were not very agreeable to him. Mr. Allworthy saw him almost every day; but though he pitied Tom’s sufferings, and greatly approved the gallant behaviour which had occasioned them; yet he thought this was a favourable opportunity to bring him to a sober sense of his indiscreet conduct; and that wholesome advice for that purpose could never be applied at a more proper season than at the present, when the mind was softened by pain and sickness, and alarmed by danger; and when its attention was unembarrassed with those turbulent passions which engage us in the pursuit of pleasure.

At all seasons, therefore, when the good man was alone with the youth, especially when the latter was totally at ease, he took occasion to remind him of his former miscarriages, but in the mildest and tenderest manner, and only in order to introduce the caution which he prescribed for his future behaviour; “on which alone,” he assured him, “would depend his own felicity, and the kindness which he might yet promise himself to receive at the hands of his father by adoption, unless he should hereafter forfeit his good opinion: for as to what had passed,” he said, “it should be all forgiven and forgotten. He therefore advised him to make a good use of this accident, that so in the end it might prove a visitation for his own good.”

Thwackum was likewise pretty assiduous in his visits; and he too considered a sickbed to be a convenient scene for lectures. His style, however, was more severe than Mr. Allworthy’s: he told his pupil, “That he ought to look on his broken limb as a judgment from heaven on his sins. That it would become him to be daily on his knees, pouring forth thanksgivings that he had broken his arm only, and not his neck; which latter,” he said, “was very probably reserved for some future occasion, and that, perhaps, not very remote. For his part,” he said, “he had often wondered some judgment had not overtaken him before; but it might be perceived by this, that Divine punishments, though slow, are always sure.” Hence likewise he advised him, “to foresee, with equal certainty, the greater evils which were yet behind, and which were as sure as this of overtaking him in his state of reprobacy. These are,” said he, “to be averted only by such a thorough and sincere repentance