to; nor did they ever dare to advance a sentence, without supporting it by the authority of the judge from whence it was borrowed.
But in process of time, and in ages of ignorance, the clerk began to invade the power and assume the dignity of his master. The laws of writing were no longer founded on the practice of the author, but on the dictates of the critic. The clerk became the legislator, and those very peremptorily gave laws whose business it was, at first, only to transcribe them.
Hence arose an obvious, and perhaps an unavoidable error; for these critics being men of shallow capacities, very easily mistook mere form for substance. They acted as a judge would, who should adhere to the lifeless letter of law, and reject the spirit. Little circumstances, which were perhaps accidental in a great author, were by these critics considered to constitute his chief merit, and transmitted as essentials to be observed by all his successors. To these encroachments, time and ignorance, the two great supporters of imposture, gave authority; and thus many rules for good writing have been established, which have not the least foundation in truth or nature; and which commonly serve for no other purpose than to curb and restrain genius, in the same manner as it would have restrained the dancing-master, had the many excellent treatises on that art laid it down as an essential rule that every man must dance in chains.
To avoid, therefore, all imputation of laying down a rule for posterity, founded only on the authority of ipse dixit—for which, to say the truth, we have not the profoundest veneration—we shall here waive the privilege above contended for, and proceed to lay before the reader the reasons which have induced us to intersperse these several digressive essays in the course of this work.
And here we shall of necessity be led to open a new vein of knowledge, which if it hath been discovered, hath not, to our remembrance, been wrought on by any antient or modern writer. This vein is no other than that of contrast, which runs through all the works of the creation, and may probably have a large share in constituting in us the idea of all beauty, as well natural as artificial: for what demonstrates the beauty and excellence of anything but its reverse? Thus the beauty of day, and that of summer, is set off by the horrors of night and winter. And, I believe, if it was possible for a man to have seen only the two former, he would have a very imperfect idea of their beauty.
But to avoid too serious an air; can it be doubted, but that the finest woman in the world would lose all benefit of her charms in the eye of a man who had never seen one of another cast? The ladies themselves seem so sensible of this, that they are all industrious to procure foils: nay, they will become foils to themselves; for I have observed (at Bath particularly) that they endeavour to appear as ugly as possible in the morning, in 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 dulness 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 surprized 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.
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 past,” 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 sick-bed to be a convenient scene for lectures. His stile, 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
