Richardson, who has no humor, who minces words, and moralizes, and dotes on the sentimental woes of his heroines, Fielding is direct, vigorous, hilarious, and coarse to the point of vulgarity.  He is full of animal spirits, and he tells the story of a vagabond life, not for the sake of moralizing, like Richardson, or for emphasizing a forced repentance, like Defoe, but simply because it interests him, and his only concern is “to laugh men out of their follies.”  So his story, though it abounds in unpleasant incidents, generally leaves the reader with the strong impression of reality.

Fielding’s later novels are Jonathan Wild, the story of a rogue, which suggests Defoe’s narrative; The History of Tom Jones, a Foundling (1749), his best work; and Amelia (1751), the story of a good wife in contrast with an unworthy husband.  His strength in all these works is in the vigorous but coarse figures, like those of Jan Steen’s pictures, which fill most of his pages; his weakness is in lack of taste, and in barrenness of imagination or invention, which leads him to repeat his plots and incidents with slight variations.  In all his work sincerity is perhaps the most marked characteristic.  Fielding likes virile men, just as they are, good and bad, but detests shams of every sort.  His satire has none of Swift’s bitterness, but is subtle as that of Chaucer, and good-natured as that of Steele.  He never moralizes, though some of his powerfully drawn scenes suggest a deeper moral lesson than anything in Defoe or Richardson; and he never judges even the worst of his characters without remembering his own frailty and tempering justice with mercy.  On the whole, though much of his work is perhaps in bad taste and is too coarse for pleasant or profitable reading, Fielding must be regarded as an artist, a very great artist, in realistic fiction; and the advanced student who reads him will probably concur in the judgment of a modern critic that, by giving us genuine pictures of men and women of his own age, without moralizing over their vices and virtues, he became the real founder of the modern novel.

SMOLLETT AND STERNE

Tobias Smollett (1721-1771) apparently tried to carry on Fielding’s work; but he lacked Fielding’s genius, as well as his humor and inherent kindness, and so crowded his pages with the horrors and brutalities which are sometimes mistaken for realism.  Smollett was a physician, of eccentric manners and ferocious instincts, who developed his unnatural peculiarities by going as a surgeon on a battleship, where he seems to have picked up all the evils of the navy and of the medical profession to use later in his novels.