History of Tom Jones by Henry Fielding - Book Report/Review Example

Henry Fielding’s novel A History of Tom Jones: A Foundling conveys the story of a young man who was found, as an infant, asleep in the bed of a kind-hearted and loving country gentleman, Squire Allworthy and his life as a young man. Published in 1749, the novel is set in the countryside where Fielding himself was born and is thought to contain at least some biographical information. His father had a reputation for sleeping around with many women, which caused a great strain on his marriage, but Fielding himself was thought to have had the happy sort of childhood he provided for Tom Jones as the foster-son of Mr. Allworthy. It is not surprising that the main character, Tom Jones, loses his mother early and, despite a good education, begins his adult life on dubious grounds as he is first turned out of doors by his benefactor and then loses the money he was provided by said benefactor. This also closely mirrors Fielding’s own experience as his mother died when he was just 11 and, at about the time he was beginning to launch his adult career, the family lost much of their fortunes to a dishonest broker (Nestvold, 2001) and he was forced to come up with a means of supporting himself. It was one of the first novels to be published, introducing a new form of written communication and is usually classified as narrative comedic romance. As Tom wanders through the countryside in the picturesque style that was popular at the time, he is accompanied by his loyal servant, the previous schoolmaster Mr. Partridge in pursuit of his lady love, Sophia Western, a beautiful young lady above his social station because of his dubious birth and subsequent falling out with Mr. Allworthy. Again, a biographical note is involved in the story as the character of Sophia Western seems to have been modeled after Fielding’s late first wife, Charlotte Cradock, who died five years before the book was published. Book 5 paraphrase Although Tom Jones soon recovered from his ailments and was even more impressed with Sophia’s quality over Molly, he was still concerned for the welfare of Molly. He was convinced that Molly’s future happiness depended entirely upon the promises and hints he had given her as a means of having his way with her and couldn’t rest easy thinking of the pain he might be causing her. While he was in love with Sophia, and now realized Sophia returned that affection, he couldn’t leave Molly to fend only for herself. Yet, knowing her to have a somewhat shallow character, he had hopes that perhaps she would accept some form of monetary payment that would make up for her pains. With this in mind, he went to her house one afternoon to talk with her, but her family said she wasn’t home. Then, one of her older sisters informed him that she was home and upstairs, in bed. Although he couldn’t gain entry to her chambers right away, the two people were so overtaken by surprise over seeing each other again that neither thought the other’s appearance strange. Eventually, though, Tom remembered why he had come and told Molly that he could not risk his fortunes by displeasing Mr. Allworthy in continuing his relationship with her, but that he intended to always provide for her welfare as well as he was able. While Molly was crying and telling him how unfaithful he was to have ruined her life so, the curtain in her attic that separated her clothes from her bed fell, revealing Mr. Square in a very compromising position. Mr. Square had pursued an interest in Molly’s beauty since the day at the church when she had caused such commotion. On being found out, Molly, not having much experience, gave up her cause with a great deal of grief while the two gentlemen made agreements to keep the matter a secret. Tom left with great relief that Molly already had a new lover and Molly and Square continued their relationship as if no interruptions had taken place. Summary The novel begins with the introduction of Mr. Allworthy and his sister Bridget just before they discover the tiny infant asleep in Mr. Allworthy’s bed on his return from a long trip away. Mr. Allworthy decides to keep the baby and raise it within his own home, but first makes the effort to discover the natural mother and treat her accordingly. Jenny Jones is sent away and taken care of rather than receiving the strict punishment afforded by law. Meanwhile, Bridget meets and marries Captain Blifil and has a son of her own, eight months after the wedding. The two boys grow up and Tom is shown to be a vigorous and energetic young man with a good heart while Bridget’s son is seen to be greedy and grasping yet quiet. Tom’s adventures eventually get him into trouble with his benefactor who will neither approve of his match with the girl of his first choice, Sophia, nor put up with Tom’s treatment of his second dalliance in the figure of Molly. Mr. Allworthy’s illness proves that Tom was not scheduled to inherit the entire estate of his benefactor as might have been expected, but still stands to receive a healthy income. After he is caught fighting over Molly, Tom is turned out of the house with only £500, which he almost immediately loses. As he travels through the countryside, he meets up with various characters from his past, helping them when he can, and becomes involved with more women with the express purpose of trying to find Sophia, who has run away from home in order to avoid marrying Blifil, whom she hates. Sophia’s father pursues her, but doesn’t actually end up catching up with her because he is diverted with a hunting party that tires him and he returns home. Tom and Sophia continue to cross paths in unexpected places, just missing each other in most cases and enabling Sophia to learn more about Tom’s real character. She continues to help him when she can just as he continues to help others when it is possible for him to do so. When Tom finally follows Sophia to London, he loses track of her and falls in with Lady Bellaston who agrees to help him find Sophia, who is a high figure in London society and agrees to help Tom find Sophia. However, she wants him for herself and works instead to get Sophia out of the way. In a wrongful confrontation with Mr. Fitzpatrick, mistakenly believing Tom was taking advantage of Mrs. Fitzpatrick, Tom seriously injures the worthy gentlemen and is placed in jail, soon to be executed by hanging. He is cleared in the nick of time by Square, who is dying and wishes to ensure everyone knows the good character of Tom Jones. With the discovery of Tom’s real parentage as Mrs. Waters reveals her true identity as Jenny Jones, it is learned that Tom was actually the oldest son of Mr. Allworthy’s sister Bridget, who had fallen in love with a young man who had been staying at the Allworthy’s house for some time before the infant was born. Further investigation reveals the complicity of Blifil in attempting to keep Tom from taking up his proper role in society as well as the fact that the man Tom is in jail for killing is not actually dead but is instead expected to survive. With this news, Tom is reinstated in the Allworthy household and bestowed with the fortunes that were rightfully his. With his name cleared and his ‘wild oats’ sown, he is finally able to marry Sophia with her father’s blessing. Contribution Fielding’s novel contributed a great deal to the literary world in that it introduced, or helped to introduce, a new form of narrative. By stringing together his several books regarding Tom Jones and his adventures, Fielding helped bring the novel to the forefront of public attention. Because of the somewhat ribald nature of his characters’ behaviors and the comic nature of their adventures, the book proved highly amusing and interesting for Fielding’s contemporary readers, making the novel an instant success and keeping it in print for several years following. His habit of treating the poor as real people and depicting the rich as real people as well, with normal wants and desires and a mix of benevolent and petty characters on either side of the economic divide made the book accessible to a wide variety of readers, particularly the middle class, which was, at the time, a growing element of society. However, critics were against the book for the very same reasons, calling it base and crass in its irreverent treatment of such sinful behaviors as sex before marriage, bastard children and providing such flawed characters with happy endings. In presenting his characters in this light, though, it might be argued that Fielding contributed to the wave of realism that would soon sweep the country as well as managed to capture a snapshot of what life was actually like for people living in the 18th century without all the pomp and circumstance of more ‘acceptable’ writers of the day. Analysis In The History of Tom Jones: A Foundling, author Henry Fielding brought a number of new ideas to the forefront of public attention. One of these was the concept of the novel itself as it was written during a time when prose was considered to be relatively unworthy of critical attention. Fielding also approached this idea with the attitude that it should reflect real life people and real life problems, but from the dramatic tradition of which he had already experienced some degree of success. In other words, his novel took on the somewhat tight construction of elements that would later inform the short story, in which all elements were expected to contribute in some way to the whole. While Henry Fielding’s novel has much to recommend it as a novel worthy of study, perhaps the most unusual thing about his novel is his use of the narrative voice to help drive the action forward and to interject the moralities and perceptions of his time. The most original and memorable element of Tom Jones, however, is the distinctive narrative voice that sets the tone and critiques it based on eighteenth century standards. What makes Fielding’s narrative voice so unique is not merely that it exists, but that it makes a frequent effort to interject and interpret the ideas and events that are occurring or to explain the writing process itself. As it makes its often dry or cynical comments, the reader gets a sense of the presence of an older, wise and urbane gentleman standing over their shoulder and making comments in their ear. His wit is lavished upon the action as it is related, emphasizing the idea that this is a story rather than reality. He also uses his wit to comment upon his own practice in creating the story: “But I must remember on what subject I am writing, and not trespass too far on the patience of a good-natured critic. Here, therefore, I put an end to the chapter” (104) he says at the end of chapter three, bringing to the reader’s attention that he had been digressing from the story somewhat. Because he knows everything that is happening, about to happen, and the things that have happened already but remain hidden to us, the reader, at any given point in the story, this narrator is able to make comments that bring our attention to the subtle clues he’s left within the dialogue and action of his characters. His omniscience also provides him with the opportunity to make sarcastic remarks or comic observations that change the overall reception of the audience of a particular element. This detached voice ends up losing a little bit of its effect in helping the audience identify with the story, but without it, much of the comedy would be lost. As the narrator comments upon the action taking place, the voice takes on the tone of a fatherly figure, carefully guided the audience through the events with special care to ensure no one has lost the purpose or the point. This leadership role is perhaps best demonstrated in the second book when explaining his rationales for the laws he creates within his novel: “these laws my readers, whom I consider as my subjects, are bound to believe and to obey; with which that they may readily and cheerfully comply, I do hereby assure them that I shall principally regard their ease and advantage in all such institutions, for I do not, like a jure divino tyrant, imagine that they are my slaves or my commodity. I am, indeed, set over them for their own good only, and was created for their use” (20). In this statement, the narrative voice seems to take on the role of God himself. He uses language such as ‘set over them’ indicating a need of a group of people, his readers or his characters, to have their way pointed out for them as dumb animals might need to be directed toward water, but with an aim to ensure these subjects are given the understanding that they are expected to drink, to continue the analogy. He assures his audience that his intentions are good and for their own edification and welfare, attempting to encourage them to relax into his guidance unquestionably. However, regardless of whether they agree that this additional effort is necessary or desired, this narrator makes it clear that they are not given the choice, they will be the recipients of his guidance whether they desire it or not. This, again, sounds much like a domineering father with an unruly child. In keeping with the tone of the narration, the novel encapsulates many of the moral assumptions of Fielding’s age, informing the modern world of the more common attitudes and beliefs of the populace. For example, while the activities of Tom Jones are not necessarily applauded for their morality, they are neither condemned nor vilified. There is a sense of admiration for the young man who is successful in accumulating some experience with women and demonstrating a ‘healthy’, difficult to restrain virility. On the other hand, Sophia is the epitome of female loveliness not so much because of her physical beauty, but because of her inviolate nature – she remains a virgin and much of her value rests in remaining a virgin until the day she is properly wed. While Tom Jones is offered plenty of opportunities to ‘make good’ his actions through offers of monetary support and other means, a female who loses her chastity is either a social hypocrite such as Lady Bellaston who seeks to entrap Tom into her world for her own purposes or worthless tramps such as Molly. Fielding is perhaps unique in his estimation of women in his time in that he acknowledges that there are exceptional cases in which a young woman might not be entirely responsible for her own downfall. This is portrayed through the figure of Jenny Jones or Mrs. Waters who, having once been betrayed, had no choice but to live the lifestyle of the fallen woman. The unique narrative voice of Fielding’s novel imbues the story with the comedy, tone and morality that makes this tale so memorable. The almost preachy stance of the narrator is tempered by his good-natured humor and forgiving stance even as it contrasts strongly with today’s standards and expectations. In speaking directly to his audience, Fielding ensured that his audience understood the ideas he was presenting at the same time that he is engaging them in direct communication, speaking through the centuries as a second voice in the room that still remains separate from the self. Works Cited Fielding, Henry. The History of Tom Jones: A Foundling. Chicago: Encyclopedia Britannica Press, 1952. Nestvold, Ruth. “Henry Fielding.” (2001). April 4, 2008 Read More